228353316 kevin tuck drum book 1

Drums

Book 1

By Kevin Tuck

Lessons and printable teaching material for Drums

Http://www.worldpercussion.com.au

Published by World Percussion Music and Resources

Reading Practice

Introduction

Reading is always a problem for drummers of all ages, however I believe that it isnot a problem if the basic issues are addressed right from the beginning.

This set of 20 Reading Practice sheets is designed to help students learn thebasics of reading music, with very little to confuse them, so they can concentrateon reading and counting the note types accurately.

There is quite deliberately no dynamics, accents or articulation markings onthem, and they are all in 4/4 time signature. I believe that students can learnthese other things independently afterwards, but it is firstly of utmost importancethat they know the note types and they can count rhythms correctly first.

Many drum teachers probably disagree with me on this, indeed I would havemyself when I first started teaching, however in my experience of teaching drumsI have found this to be the most effective way of teaching students to read music.

In this package have also supplied the snare drum solos and reading expansionsheets which deal with dynamics, accents and other time signatures.

Tips for teaching rhythm reading.

Students must COUNT OUT LOUD!.. this is vital to being a good reader..

I have not written in counts on any of the sheets, however they can be written inif the student is having trouble learning them.

I insist that the student gives a note-perfect performance of each exercise beforethey can proceed to the next sheet, without any assistance from me.

I also sign off each exercise as the student completes it, this gives them a senseof achievement, and a goal to complete the whole course.

Kevin TuckFeb. 2000

Reading Practice #1Crotchets and Quavers

Quarter Notes and Eighth Notes

Copyright 1998,2000 Kevin Tuckthis copy licensed from World Percussion Music and Resources

http://www.worldpercussion.com.au

Reading Practice #2Crotchets, Quavers and Semiquavers

Quarter Notes, Eighth Notes and Sixteenth Notes

Copyright 1998 Kevin TuckThis copy licensed from World Percussion Music and Resources


Reading Practice #3Quaver Rests

Eighth Note Rests

Copyright 1998 Kevin Tuckthis copy licensed from World Percussion Music and Resources


Reading Practice # 4Mixing Quavers and Semiquavers (1e+)

Eighth notes and sixteenth notes



Reading Practice #5Mixing Quavers and Semiquavers (1 +a)

Eighth and Sixteenth Notes

Copyright 1998 Kevin Tuckthis copy licensed from World Percussion music and resources


Reading Practice #6Minims, Dotted Minims, Dotted Crotchets

Half Notes, Dotted Half Notes, and Dotted Quarter Notes



Reading Practice #7Dotted Quavers, and Semiquavers

Dotted Eighths, and Sixteenths

Copyright 1998 Kevin Tuckthis copy licensed from World Percussion music and resources


Reading Practice #8Revision



Preliminary Exersizes

Reading Practice #9Quaver Triplets

Copyright 1998 Kevin Tuck this copy licensed from World Percussion music and resources


Reading Practice #11Semiquaver rests

Sixteenth note rests



Reading Practice #12Mixing Quavers and Semiquavers with syncopation (1e a)



Preliminary Exersizes

Reading Practice #13Mixing Quaver Triplets with other notes

Copyright 1998 Kevin Tuck this copy licensed from World percussion music and resources


Reading Practice #14Crotchet Triplets1/4 Note Triplets



Reading Practice #15Semiquaver Triplets1/16 Note Triplets



Reading Practice #16Preparing for Syncopation

copyright 1997, 2000 Kevin Tuckthis copy licensed from World Percussion Music and Resources


Reading Practice #17Syncopation



Reading Practice 18Syncopation with Ties

copyright 1997. 2000 Kevin Tuckthis copy licensed from World Percussion Music and Resources


Reading Practice #19Syncopated Semiquavers



Snare Drum Solo


http://www.worlpercussion.com.au

Snare Drum Solo

Copyright 1998 Kevin Tuckthis copy licensed from World Percussion

htp://www.worldpercussion.com.au

Snare Drum Solo

Copyright 1998 Kevin Tuckthis copy licensed from World Percussion Music


Kick

Snare

Rim Click

Closed

open

Hi-Hato

Pedal

Ride

Crash

Splash

3 Toms

4 Toms

5 Toms

2

The Basic Rock Pattern :

1

2

Bass Drum Variations:

3

4

5

6

7

8

Copyright 2000 Kevin TuckThis is a licensed copy from World Percussion


1

2

3

4

5

6

7

8

Copyright 1998, 2000 Kevin TuckThis copy licensed from World Percussion Music and Resources


1

2

3

4

5

6

7

8

copyright 1998,2000 Kevin TuckThis copy licensed from World Percussion music and resources


Copyright Kevin Tuck 2001this copy licensed from World Percussion Publications


1

2

3

4

5

6

7

8

Stage 2, Sheet 1 - "Snares in the Middle"

Copyright 1997 Kevin Tuckthis copy licensed from World Percussion music and Resources


1

2

3

4

5

6

7

8

9

Stage 2, sheet 2 - "Bass and snare in the middle..."



1

2

3

4

5

6

7

8

Stage 2, Sheet 3



1

2

3

4

5

6

7

8



1

2

3

4

5

6

7

8

Copyright 1998 Kevin Tuckthis copy licensed from World Percussion


This is a list of Alternate Hi-Hat Patterns that can be applied to most of the previous patterns.

SemiquaversCan be played with one hand, or both depending on the tempo

Crotchets Play on Loose Hi-Hats or the Ride

Example(sheet 1, number 3)

AccentsVery Important in getting a good feel!

R R R R R R etc

RLRLRL etc

Hi-Hat Openings

o

o

o

o

o

o

o

o

o

These areJust an example - There are Hundreds of other cymbal patterns that can be played over these exersize sheets.

Have Fun!....

o

Others



Semiquavers can be played on the Hi-Hat using either One hand (ex 10 or two hands (ex 2, depending on the tempo of the song:

example 1

R L R L R L R L etc

example 2

Copyright 2001 Kevin TuckThis copy licensed from World Percussion


2

3

4

copy in the Bass & Snare voice from the rest of "Basic Rock patterns page 1", and the "Basic Rock patterns page 2" here

4

5

5

6

6

7

7

8

8

copyright K. Tuck 2001

The Basic Shuffle Pattern:

1

With Bass drum on every beat:

2

Bass Drum Variations

3

4

5

6

7

Shuffle with Crotchets on the Cymbal:

8

9

Copyright 1998, 2000 Kevin Tuckthis copy licensed from World Percussion Music and Resources


1

2

3

4

5

6

7

9

Coprright 1998 Kevin Tuckthis copy licensed from World Percussion Music and Resources

http://www.worldpercussion.com.aui

Basic Pattern:Written in 4/4 Time:

1

2

Basic Patternwritten in 12/8/ Time

Variations

3

4

5

6

7

8

9

10

11

12

Copryright 1998 Kevin Tuckthis copy licensed from World Percussion Music and Resources


1

2

3

4

5

6

7

8

9

10

11

12

13

14

Also Try all of these rhythms with semiquaver variations in the cymbal pattern for example:

15

16

17

Copryright 2000 Kevin TuckThis copy licensed from World Percussion


These exersizes are designed to develop the independence of both the left hand and the bass drum. Step 1) Play the second bar only.. with the snare drum against the ride cymbal... very slowlyStep 2) Then add the hi-hat on 2&4 of every bar, and play the exersize as written, bringing in and out the snare drum.Step 3) Learn the exersize playing the snare drum line on the bass drum.

Hi-Hat should be played with the left foot on beat 2 & 4of every bar

Swung Quavers

3

=

IndependenceSheet #1

Independence Sheet 1 by Kevin TuckThis copy licensed from World Percussion Music and Resources


Also try playing these exersizes alternating bars between snare drum and bass drum.Don't forget the Hi-Hat!


Swing Independence Exersizes by Kevin TuckThis copy licensed from World Percussion Music and Resources


IndependenceSheet #3one bar patterns

Swing Independence Exersizes copyright 2000 Kevin Tuckthis copy licensed from World Percussion Music and Resources


Swung Quavers

3

=

In these exersizes, the cymbal always lines up with the third note of the triplet, as that is the way the quavers are always played in swing, so that is why the notation looks a little strange.

Swing IndependenceSheet #5

Triplets




Mixing Snare & Bass




Bass Drum Exersizes

Swing Independence Exersizes copyright 2000 Kevin Tuckthis copy licensed from World Percussion Music and Resources


These Exersizes are simply melodic rhythms, which can be played against the ride cymbal pattern. They are a good exersize to develop independence, but remember that you would never actually play all of these notes when playing a jazz tune, as this would make it too "crowded".

Some of these rhythms are taken from the melodies of famous jazz tunes....see if you can guess which ones they are!!

Melodic Exersizes

Melodic Exersizes for Swing Independence copyright 2000 Kevin TuckThis copy licensed from World Percussion Music and Resources


3

Swung Quavers

=

Melodic ExersizesSheet 2

Melodic Exersizes for Swing Independence copyright 2000 Kevin Tuckthis copy licensed from World Percussion

htp://www.worldpercussion.com.au

3

Swung Quavers

=

Melodic ExersizesSheet 3

Melodic Exersizes for Swing Independence copyright 2000 Kevin TuckThis copy licensed from World Percussion Music and Resources


When encountering this type of figure. the drummers role is to keep the time going underneath the figure, and lightly compliment it with the snare and bass drums. It is important not to over-empahasise every section figure that is found in a chart, or the drums will be too "busy" and take away from the section that is playing.

There are two types of figure usually found in swing charts

A section figure is usually written above the staff, usually played by only one section of the band, and the time slashes continue under the figure

Section or Ensemble Figures?

Brass

When encountering this type of figure the drummers role is to;

-Stop the time and play the figure with the band, crashing cymbals on the important notes.

-Play a "set-up" which leads to the figure

A set up usually consists of one main note immediately preceding the figure, with an extra few notes to embelish it. Orchestration:

A crash cymbal is not generally strong enough by itself to emphasise the figure, so it is usually played in unison with the snare or bass drums.

If playing the figure with the snare & crash the set up is usually played with the bass drum, and if playing the figure with the bass & crash then the set up note would be played on the snare drum.

An ensemble figure is usually written on the staff, replacing the time slashes, and noteheads are replaced by slashes, and usually have accents over the most important notes.

Swing Figures

Generally when a figure is on the beat, the setup should be played on the beat immediately before it, and extra notes can be added before the set-up note to embelish it.

Here is a single note ensemble figure and some possible set-ups for it

Setting up ensemble figures(figures on the beat)

When a figure is off the beat, the setup note should be played on the beat which the figure is after, and additional notes can be added before the main set-up not

Here is a single note ensemble figure and some possible set-ups for it

If the figure is written as shorter note, and/or written with a capped accent ( ), then avoid playing a crash cymbal, unless you can choke it. Use the hi-hat or a splash cymbal to give a shorter sound.

Setting up one note ensemble figures(figures off the beat)

ensemble figuresone bar figure examples

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Copyright 1998 Kevin TuckThis copy licensed from World Percussion http://www.worldpercussion.com.au

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A. Single stroke roll rudiments

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

1. Single Stroke Roll

1. Roll Rudiments

R L R L R L R L

2 Single Stroke Four

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

3. Single Stroke Seven

L R L R L R L R

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B. Multiple bounce roll rudiments

4. Multiple bounce (buzz) roll

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

RRLLRRLL etcLLRRLLRR

7. Five Stroke Roll

R R L L

6 Double Stroke Open Roll

C. Double stroke roll rudiments

5. Triple Stroke Roll

8. Six Stroke Roll

L R L RR L R L

12. Eleven Stroke Roll

R L R LL R L R

9. Seven Stroke Roll

10. Nine Stroke Roll

R R L L

11. Ten Stroke Roll

R R L R R LL L R L L R

R L R LL R L R

R R L L

13. Thirteen Stroke Roll

14. Fifteen Stroke Roll

R L R LL R L R

R RL L

15. Seventeen Stroke Roll

Standard Drum Rudiments

17. Double Paradiddle

16. Single Paradiddle2. Paradiddle Rudiments

R L R R L R L L

R L R L R L R R L R L R L R L L 19. Single Paradiddle-diddle

18. Triple Paradiddle

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

3. Flam Rudiments

20 Flam

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

4. Drag Rudiments

L

R L

R

31. Drag LL

R L

RR

L

21. Flam Accent

R L R L R L

R

32. Single Drag Tap

RR

R L R L

LL

L R R L L R R L L

22. Flam Tap

R

L

R

33. Double Drag Tap

R R L L L RLL

LL

RR

RR

R

LR L R L RL R L R L

23. Flamacue

R

L

34. Lesson 25 RR

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

LL

RR

LL

LR L R R L R L L24. Flam Paradiddle

R

35. Dragadiddle RR L R L LL R L L

L R R L R L L R L

25. Single Flammed Mill

R

36. Drag Paradiddle #1 R R L R R L L R L L

LL

RR

L

26. Flam Paradiddle-diddle

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

R

37. Drag Paradiddle #2

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

LL

LL

RR

RR

L R L R L R L R L

27. PataFlaFla

R

L

R

38. Single Ratamacue

LL R L R L L R L R

RR

L

R

28 Swiss Army Triplet

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

L

R

39. Double Ratamacue

LLR R L R L L L R L R

LL

RR

RR

L

29. InvertedFlam Tap

R L L R R L L R

R

L

R

40. Triple Ratamacue LLR R RLR L L L LRL R

LL

LL

RR

RR

RR

L

30. Flam Drag

R L L R L R R L

R

Title PageReading Practice IntroductionReading PracticeReading Practice #1Reading Practice #2Reading Practice #3Reading Practice #4Reading Practice #5Reading Practice #6Reading Practice #7Reading Practice #8Reading Practice #9Reading Practice #10Reading Practice #11Reading Practice #12Reading Practice #13Reading Practice #14Reading Practice #15Reading Practice #16Reading Practice #17Reading Practice #18Reading Practice #19Reading Practice #20

Snare Drum SolosSolo 1 - "Rockin the snare"Solo 2- "Dynamically Speaking"Solo 3 - "Semi-Madness"

Notation GuideStraight 8th Rock pattern sheetsBasic Straight 8th Rock Sheet 1Basic Straight 8th Rock Sheet 2Basic Straight 8th Rock in 2 bar phrasesBasic Straight 8th Rock in 4 Bar PhrasesStage 2, sheet 1 "snares in the middle"Stage 2, sheet 2 "bass & snares in between hi-hatsStage 2, Sheet 3Stage 2, Sheet 4More complicated 2 Bar PhrasesAdding Semiquaver Triplets to straight 8th patternsAlternate Hi-Hat patterns for straight 8th feelsSemiquavers on Hi-HatCrotchets on HH

Shuffle/triplet based pattern sheetsShuffle patterns sheet 1Shuffle patterns sheet 2Triplet patterns sheet 1Triplet patterns sheet 2

Swing Independence ExersizesIndependence sheet 1Independence sheet 2independence sheet 3independence sheet 4independence sheet 5independence sheet 6independence sheet 7independence sheet 8Swing Melodic Exersizes sheet 1Swing Melodic Exersizes sheet 2Swing Melodic Exersizes sheet 3figures introductionfigure setups 1figure setups 2one bar ensemble figures

Latin RhythmsBossa NovaCha ChaMamboSamba

AppendicesAppendix 1 -Basic Drum Rudiments

228353316 kevin tuck drum book 1

Documents

world percussion music

kevin tuckthis copy

thebasics of reading

reading practice sheets

kevin tucklessons

kevin tuckfeb

dotted quavers

dotted crotchetshalf