toolboc clinic book - kmea · w e! this clinic guide provides $ ˚˛ ˜from row-loff's toolbox...

Welcome Everyone!

This clinic guide provides excerpts from Row-Loff's Toolbox Curriculum: The Snare Drummer's

Toolbox (SDT) & The Mallet Player's Toolbox (MPT). The solos & duets within these two texts

are integrated and share the same title. It is important to know when performing the solos/duets

from both books that you'll need to use the accompanying disk's Play-Along Trax from MPT. We

suggest teaching a lesson from SDT followed by the same numbered lesson in MPT. As you may

surmise, teaching the techniques of snare & mallets together is a somewhat daunting task but we

feel that the 2 texts progress comfortably for the student.

SDT is complemented with a DVD that contains approx. 3 hours of video instruction! This in-

cludes a video for each lesson, a thorough percussion tutorial by Dr. Julie Hill covering the 9 Tool-

box percussion instruments presented, as well as instruction from Scott Brown on how to use the

book in a classroom format. The disk also contains a PDF of additional exercises as well as Play-

Along Trax, Groove Trax and Stick Click Metronome Trax.

MPT includes an enhanced CD that comes with Play-Along Trax, Groove Trax, a student PDF as

well as a director's PDF that contains the solos/duets in score form containing both snare and

mallet parts. MPT also contains an 8-page Timpani tutorial. (Both texts’ interior are 2-color

throughout.)

Thank you for joining us today and feel free to ask any questions you may have.

(All hecklers will be subject to full extent of local law enforcement.)

How

To U

se This T

oolbox.

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3

Snare Drum

Set-Up &

Maintenance

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.4

Snare Drum

Tuning

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5

Lesson 1 - L

et’s Get Started

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6

Lesson 2 - Q

uarters, Halves and W

holes (Notes &

Rests . . . that is)

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.13

Lesson 3 - E

ighth Notes &

Eighth R

ests.

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.18

Lesson 4 - A

ccents & D

ynamics

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Lesson 5 - Sixteenth N

otes & Sixteenth R

ests.

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Lesson 6 - B

asic Rolls

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38

Lesson 7 - Paradiddles (Single &

Double)&

Cut T

ime

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Lesson 8 - Flam

s, Drags &

Road M

aps.

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54

Lesson 9 - T

riplets & T

riple Meter

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Lesson 10 - N

ailin’ It Dow

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.70

Accessory Percussion

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.78

Index.

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.80

- 2-

Table of C

ontents

About T

he Authors

Chris C

rockarell & C

hris Brooks, know

n to most as “C

rock & B

rooks”, have spent alifetim

e in the world of drum

s and percussion. They both attended M

cGavock H

ighSchool in N

ashville, TN

, which for over 30 years has had one of the prem

iere bandprogram

s in the country, and after graduation went their separate w

ays to pursuecareers as professional drum

mers. O

ver the next 20 years they played stage shows,

marched drum

corps, toured with artists, w

orked as recording drumm

ers, giggingdrum

mers and on occasion w

orked a few drum

lines. In 1990, based on the popularityof drum

lines, they started Row

-Loff Productions. R

ow-L

off was im

mediately

recognized as a ground breaking publisher of percussion literature. Over the past 20

years, Row

-Loff Productions has becom

e a premiere publisher of percussion literature

with a diverse library of concert percussion ensem

bles, drum line features, novelty

literature, solo/method books and D

VD

s. This book is a culm

ination of their lifeexperiences as drum

mers, teachers, w

riters, publishers and percussion aficionados.“C

rock & B

rooks”- 80

-

Index

A T

empo

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.66

Accelerando

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Accents

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25

Accessory Percussion

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78, 79

Coda

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Crescendo

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Cut T

ime

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Da C

apo (D.C

.).

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Dal Segno (D

.S.).

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57

D.C

. al Fine.

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D.S. al C

oda..

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Decrescendo.

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Dim

inuendo.

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Dotted E

ighth Notes.

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Dotted H

alf Notes.

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Dotted Q

uarter Notes

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Double Paradiddle.

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48

Drag

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Dynam

ics.

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Eighth N

otes & R

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Fermata

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Fine.

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Flam.

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Flam A

ccent..

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Flam T

ap.

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Grooves For T

hought.

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.10,28,39,61

Half N

otes & R

ests.

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Matched G

rip.

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Poco a poco.

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Quarter N

otes & R

ests.

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Rallentando.

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Repeat M

easure.

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Repeat Sign

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Ritard

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Rolls,

Buzz

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ime

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Double Stroke

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Five-Stroke.

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Nine-Stroke

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Seven-Stroke.

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Single-Stroke.

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Triple M

eter.

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Ruff

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Set-Up &

Maintenance

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Single Drag T

ap.

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Single Paradiddle.

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Sixteenth Notes &

Rests

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Stick Anatom

y.

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Strokes,

Dow

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Full.

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Natural

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Tap

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26

Up

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26

Thirty-Second N

otes & Slashes

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Ties

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39

15 Toolbox E

ssential Rudim

ents.

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Traditional G

rip.

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Triple M

eter.

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Triplets,

Eighth N

ote.

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Sixteenth Note

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Sixtuplets.

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Tuning

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5

Whole N

otes & R

ests.

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11,14

Snare

Dru

mm

er’s T

oolb

ox

- Tab

le of C

onten

ts and In

dex

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Malle

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le of C

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dex

- 6 -

For your left hand, duplicate the right hand grip.

With your right hand, grab the stick five to sixinches from the butt end holding it between theflat part of the thumb and the 1st joint of yourindex finger. This holding point is called thefulcrum.

Lightly curl your other three fingers aroundthe stick.

Holding the stick is similar to theway most people hold their toothbrush.

Matched Grip - A Simple Explanation

Butt

Tip (Bead)

ShoulderShaft

Anatomy of a Stick

For the beginning percussionist we recommend using matched grip.

LESSON 1 - Let’s Get Started

from The Snare Drummer’s Toolbox

��

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from The Mallet Player’s Toolbox

Let's Move Those Hands

Now that you're familiar with the full stroke, here are some sticking combinations for you to practice.

� Start by playing each line twice, slowly at first. As you become more comfortable, increase the tempo.

� Once you've mastered each line, play lines 1 through 12 (each line once) without stopping.

� Keep a consistent look and sound between your right and left hand. (Practice in front of a mirror.)

� Stay relaxed and keep a consistent tempo.

1) R R R R R R R R R R R R R R R R

2) L L L L L L L L L L L L L L L L

3) R L R L R L R L R L R L R L R L

4) R R R R L R L R L L L L R L R L

5) R R L L R R L L R R L L R R L L

6) R L L R L L R R L R R L R R L L

7) R R R R R R R R L L L L L L L L

8) R L R L R R L L R L R L R R L L

9) R L R R L R L L R L R R L R L L

10) R R R L L L R R L L L R R R L L

1

V


Let's Make Some Noise . . . The Full StrokeFirst, let's try a little exercise without your sticks. With your righthand, tap on your drum head using your knuckles, like you'd knockon a door. Primary movement should be from the wrist. There shouldbe little movement of your forearm. Now try it with your left hand.This is the same motion you'll use for the full stroke. Practice thisuntil it feels comfortable.

Now, with your sticks in the proper matched grip playing position,use the same wrist motion and hit the drum a few times with yourright stick. For the full stroke, allow the stick to rebound off thehead. The tip of the stick should always be moving straight up ordown in a constant fluid motion. As the stick comes up, your backthree fingers should relax and move with the stick. When the stickcomes down, the same three fingers should lightly squeeze back intoa closed position. Once this feels comfortable give the left hand a try.

W

Example Grooves For Thought and News Flash


Example Grooves For Thought and News Flash


- 34 -

Dotted Eighth NotesNews

Flash

4

2

4

2

4

2.œ œ .œ œ œ

≈ ≈œ œ≈ ≈œ œ

≈œ œ

≈œ=

1 - e - & a 2 - e - & a

=

1 (e) (&) a 2 (e) (&) a 1 - e (&) a 2 - e (&) a

A dot placed after a note (or rest) increases its value (duration) by one half.A dotted eighth note is equal in duration to three sixteenth notes.

Below are examples of rhythms that are written differently but are played the same on a snare drum.

1)

2)

3)

4)

Here are a few exercises incorporating dotted eighth notes.Practice these at several tempos with a metronome, Stick Clix, or Groove Trax.

Count as you play and keep solid time.

After you’ve mastered each exercise, combine all six exercises into one long exercise omitting the repeats.Get a little crazy... reverse the sticking!

5)

6)

V

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- 10 -

Let's Move Those Hands

Grooves For ThoughtA drummer’s most important job is to be a good time keeper, both within the percussion section and for the band. Whatdoes that mean? It means the band relies on you to provide a steady tempo, whether in the band room or on the marchingfield. Once the band director counts off a tune, don't speed up (rush) or slow down (drag). To become a solid time keeper,you should ALWAYS practice playing along with a source of solid time. This can be one of your favorite tunes, ametronome, a drum machine, or one of the Stick Clix or Groove Trax provided on The Toolbox DVD.

Remember: A drummer’s #1 job is to be a good time keeper.

Now that you're familiar with the full stroke, here are some sticking combinations for you to practice.

� Start by playing each line twice, slowly at first. As you become more comfortable, increase the tempo.

� Once you've mastered each line, play lines 1 through 12 (each line once) without stopping.

� Keep a consistent look and sound between your right and left hand. (Practice in front of a mirror.)

� Stay relaxed and keep a consistent tempo.

1) R R R R R R R R R R R R R R R R

2) L L L L L L L L L L L L L L L L

3) R L R L R L R L R L R L R L R L

4) R R R R L R L R L L L L R L R L

5) R R L L R R L L R R L L R R L L

6) R L L R L L R R L R R L R R L L

7) R R R R R R R R L L L L L L L L

8) R L R L R R L L R L R L R R L L

9) R L R R L R L L R L R R L R L L

10) R R R L L L R R L L L R R R L L

11) R L R L R R L R L R L L R R L L

12) R R L R L R L R L L R L R L R L

Guess What? You've just played your first two rudiments! #9 is the Single Paradiddle (R L R R - L R L L) and #11 is the Double Paradiddle (R L R L R R - L R L R L L).

We’ll discuss paradiddles further in Lesson 7.

V

- 12-

Eye-Q

Review

- Lesson 1

Nam

e the four parts of a stick.

11))A

quarter note receives count(s).

22))A

half note receives count(s).

33))T

here are quarter notes in a 3/4 m

easure.44))

A m

usical staff has lines and

spaces.

FFiillll IInn TThhee BB

llaannkkss

MMuullttiippllee CC

hhooiiccee

11))A

vertical line across the staff is called a: ___44))

Barlines are used to divide the staff into: ___

AA- repeat sign

AA- rhythm

s or beatsBB

- barlineBB

- measures or bars

CC- tuba insert

CC- bass drum

s or trianglesDD

- dividerDD

- eighth notes and quarter notes

22))A

drumm

er’s main job is to: ___

55))T

he tip of the stick should always m

ove: ___AA

- keep solid time

AA- slightly left to right

BB- play as loud as possible

BB- in and out

CC- get the band director coffee

CC- straight up and dow

nDD

- impress people by playing fast

DD- tow

ard the rim of the drum

33))T

he top head of your drum should be: ___

66))H

ow far you stand from

your drum is: ___

AA- parallel to your shoulders

AA- dictated by the length of your forearm

BB- w

axed oftenBB

- not important

CC- a place to set the band director’s coffee

CC- dictated by the length of your sticks

DD- 3 to 4 inches below

your belly buttonDD

- 12 to 18 inches

_______

_______

_________

_________

÷4 4

4 5

4 3

Fill in the measures below

with the appropriate num

ber of quarter notes.R

emem

ber, snare drum notes are typically w

ritten on the 3rd space of the staff.÷4 2

Nam

e The R

udiments

(RL

RR

- LR

L L

)___________________ (R L

R L

R R

- L R

L R

L L

)________________________

Exam

ple:

- 53-

FFiillll IInn TThhee BB

llaannkkss

11))In the m

easure below, w

rite two single

33))In the m

easure below, w

rite two double

paradiddles in Cut T

ime (include stickings).

paradiddles in 3/4 time (include stickings).

22))Fill in the stroke types for the single paradiddles.

44))Fill in the stroke types for the double paradiddles.

Eye-Q

Review

- Lesson 7

÷C

÷4 4

4 3

4 2

4 4œ >

œœœœ >

œœœœœ‰

RL

œ >

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Write in the stickings below

.U

se only single and double paradiddle stickings.HH

ii

EEyyee--QQ

CCrroossssww

oorrdd--aa--ddiiddddlleeAA

ccrroossss

11. stroke recipe for single paradiddle -

downstroke, upstroke, tap, ______

33. right single paradiddle

88. In Cut T

ime, a half note receives one ____.

99. a left double paradiddle

1100. L R

L L

, a left _______ paradiddle

DDooww

nn

22. R L

R R

44. another "Cut T

ime" nam

e

55. L R

L R

L L

, a left ______ paradiddle

66. A tim

e signature that cuts note and rest

values in half.

77. A m

easure of Cut T

ime equals tw

o

_______ notes.

10

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2

5 1

8

6

9

3

7

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For now, we'll concentrate on the quarter note and the quarter rest . A number in parentheses ( ) denotes a rest(silence). In a measure of 4/4 time, there are four beats per measure. Play or clap the following exercises.

Count 1, 2, 3, 4 as you play and keep solid time.

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1

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2

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3

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2

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2

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Now let's try 3/4 time. Count 1, 2, 3 as you play and keep solid time.

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R

1

L

2

R

3

L

4

R

5

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R

3

L

4

R

5

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L

1

L

3

R

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Now let's try 5/4 time. Count 1, 2, 3, 4, 5 as you play and keep solid time.

LESSON 2 - Quarters, Halves & Wholes(Notes & Rests . . . that is)

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Addendum pg 33

How To Build An InexpensivePractice Pad For (4) Students

6” 6”

26” 26” 26”

96” (8’)

(7 1/2”)6”x 6”rubber

6”x 6”rubber

6”x 6”rubber

6”x 6”rubber

Items You’ll Need:

(1) 8’ long 2”x 8” piece of lumber (pine)(4) 6”x 6” pieces of rubber, 1/8” - 1/4” thickSmall tube of Liquid Nails(2) sturdy chairs

The rubber squares are most easily accessible from the plumbing supply department at your local hardware store.They’re about $2.00 each and are 1/8” thick. You can get thicker rubber from an industrial rubber supply house,but may have to cut it to size. 1/4” thick gives a better playing feel and makes the sound a little easier on the ear.If you do have a rubber supply house in your area, you may be able to get a scrap from them for little or nothing.You’ll only need one square foot to make your (4) 6” x 6” squares.

Once you have your materials, glue the rubber squares to the 2” x 8” as shown in the drawing below. Be sureand clamp the rubber when you glue it for a secure, tight glue joint. After all is assembled, set the board upon the backs of two chairs appropriately spaced (with the backs of the chairs perpendicular to the board), andVoilà, you have practice pads for (4) students for about $20.00!

When it’s not in use, just set in in the corner of the band room. If you have more students, make another!

NOTE: If you feel your students need a little more space, opt for (3) students per board. Space the (3) rubbersquares center to center at 39”.

- 25 -

LESSON 4 - Accents & DynamicsWebster’s definition of aacccceenntt is “emphasis or stress on a note or chord.” In other words, a note

marked with an accent ( ) is played noticeably louder. Up to this point, you’ve been playing all full strokes.To play accented patterns, rudiments, and rolls, you’ll need to learn three more basic strokes:

>

11)) TThhee DDoowwnnssttrrookkee 22)) TThhee TTaapp SSttrrookkee 33)) TThhee UUppssttrrookkee

TThhee DDoowwnnssttrrookkee

To play a downstroke, start in the regular playing position and play afull stroke (see Figure 1). As you strike the drum, stop the rebound ofthe stick one to two inches above the head by lightly squeezing theback three fingers and stopping the wrist motion (see Figure 2).

Figure 1 Figure 2

Stopping the stick in this down position defines this as a ddoowwnnssttrrookkee.Stay relaxed. Don’t squeeze the stick too tightly.

Practice these three exercises, sslloowwllyy aatt ffiirrsstt, focusing on proper execution of the downstroke.

FF = Full Stroke DD = Downstroke

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Figure 2

- 26 -

TThhee TTaapp SSttrrookkeeTo play a tap stroke, start in the regular playing position. Slightly liftthe stick and strike the drum, returning to the normal playing position.

Practice these three exercises, sslloowwllyy aatt ffiirrsstt, focusing on proper execution of the tap stroke.

TT = Tap Stroke

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Tap strokes are basically soft strokes and arefundamental in the development of a musical snare drummer.

In executing the tap stroke, you’ll be using a slight wrist motion as well as the back three fingers to control the stick.

TThhee UUppssttrrookkee

The uuppssttrrookkee is a preparation for an accent. To play an upstroke,start in the regular playing position (see Figure 1). Play a tap strokeand, in the same motion, lift the stick approximately 45º inpreparation for an accent or stroke of louder volume (see Figure 2).

Practice playing individual upstrokes, at no tempo, with each hand.

Figure 1

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- 31 -

LESSON 5 - Sixteenth Notes & Sixteenth RestsA sixteenth note looks like a quarter

note with a double flag attached.

1)

2)

3)

4)

Consecutive sixteenthnotes are usually beamed. This is a sixteenth rest.

r


≈

In a typical 4/4 measure, sixteenth notes areplayed twice as fast as eighth notes and are counted:

1 e & a 2 e & a 3 e & a 4 e & a ÷4

4œ

11

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eta

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1st and 2nd EndingsNews

Flash

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.

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1st

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2nd

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A B C D E

Play this exercise four timesstarting with the right hand.

Then play it four timesstarting with the left hand.

Count 1 & 2 & 3 & 4 & 1 e & a 2 e & a 3 e & a 4 e & a

as you play.

When a musical phrase is repeated, sometimes the end of the phrase is altered.In the example below, play measures A, B, C, and D, then play measures

A, B, C, and E (skipping measure D when you repeat the phrase).

Note: If there is no forward repeat sign, go back to the beginning.

÷4

4..

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1

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&

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RLLRRLLRRLLRRLLRRLLRRLLRRLLRRLLR

Practice at several tempos, and always kkeeeepp ssoolliidd ttiimmee.

÷4

2..

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R L R L R L

Eighth / Sixteenth Combos

Another popular counting system for sixteenth notes is: 1 ta te ta 2 ta te ta 3 ta te ta 4 ta te taThis book will use the traditional 1 e & a 2 e & a 3 e & a 4 e & a

V

V

V


- 38 -

LESSON 6 - Basic RollsSo far we've learned to execute four basic strokes (the full stroke, the downstroke, the tap stroke and theupstroke), and read quarter notes, eighth notes and sixteenth notes. All the strokes and notes we've played havebeen short with no duration. As mentioned on page 14, duration (a sustained sound) on a snare drum isaccomplished by playing a roll. In this book, you'll learn two types of rolls: double stroke (generally used inrudimental playing) and buzz or multiple bounce (generally used in concert/orchestral playing). The first we'lllearn is the double stroke roll.

The Double Stroke Roll

÷4

4œ œ‰œ œ‰œ œ‰œ œ‰

R R R R R R R R‘

œ œ‰œ œ‰œ œ‰œ œ‰

L L L L L L L L‘

÷œ œ‰œ œ‰œ œ‰œ œ‰

R R R R R R R R


L L L L L L L L


R R R R R R R R


L L L L L L L L

÷..


R R R R L L L L‘


R R L L R R L L‘

Play the following exercise several times, slowly at first. Strive for equal volume between the two notes.Remember, a double stroke is played using a single wrist motion.

Play the following exercise incorporating the double stroke.Maintain a constant “1 & 2 &” wrist motion throughout the exercise.

÷4

2œ œ œ œ

R L R L

œ œ œ œ œ œ

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2

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2

÷..

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R L R L‘


R R L L R R L L‘

œ œ œ œ

R L R L‘


R R L L R R L L‘

A double stroke consists of two notes coming from one wrist motion. Toplay a double stroke, start in the regular playing position (both sticks one

to two inches above the head) and play a full stroke. After the initial strike, allow the stick tobounce, then immediately squeeze the back three fingers pushing the stick back to the head forthe second note. The goal is to have both notes be equal volume.

TThhee DDoouubbllee SSttrrookkee

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- 47 -

LESSON 7 - Paradiddles (Single & Double) & Cut Time

Great importance should be placed on the stroke types used in the single paradiddle(Down, Up, Tap, Tap) or (Down, Up, Double Stroke). Mastering this sequence will develop flow and speed.

A right single paradiddle is executed by playing a right hand downstroke, followed by a left hand tap/upstroke, then two righthand tap strokes. As speed increases, the two right hand tap strokes will morph into a double stroke. For the left singleparadiddle, the sticking is reversed.

œ

>Right Single Paradiddle

œ œ œ

R L R Rœ

>Left Single Paradiddle

œ œ œ

L R L L

÷œ

>

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>

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>

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>

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

The Single Paradiddle

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U

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Single Paradiddle Exercises

1)

2)

3)

4)

V

V

V

V


- 49 -

Cut Time ( or )News

Flash

Cut Time is a time signature that literally “cuts”the value of all notes and rests in half relative to the beat.

In Cut Time, a half note receives one beat or count and there are two beats per measure.

C2

2

Quarter notes are counted 1 & 2 &

Eighth notes are counted 1 e & a 2 e & a

Cut Time is also referred to as “Alla Breve” and is most commonly used in Marches.i.e. The Stars and Stripes Forever by John Phillip Sousa

Cut Time Equivalents

÷ C..

4

2œ

1

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&

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2

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1

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4

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a

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1)

2)

3)

4)

Play the following examples in Cut Time. Remember, in Cut Time a half note receives one beat.

5)

played thesame as

played thesame as

played thesame as

played thesame as

- - - - - - - played the same as - - - - - - -

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- 54 -

LESSON 8 - Flams, Drags & Road Maps

The flam is a rudiment comprised of two strokes, a grace note (tap stroke) followed by a fundamental note (downstroke or fullstroke). Rhythmic figures containing flams should not be attempted until the flam is mastered. A flam should be thought of asa single sound, but the sticks sshhoouulldd nnoott strike the head at the same time. The grace note is always softer than the fundamentalnote, and the fundamental note should always land on the beat.

The Flam

1)

2)

3)

j

œ œ

>

gracenote

fundamental note j

œ œ

>

L R R L

Right Flam Left Flam

To learn proper execution of the flam, start with your sticks in the position shown in the photos below. For the right flam theleft stick should be one to two inches from the head, and the right stick ten to twelve inches above the head. Start a strokemoving both sticks at the same time, allowing the left stick to strike the drum first (the grace note) immediately followed bythe right stick (the fundamental note). There’s your first flam. Practice this until it has become one coordinated motion (stroke).Then do the reverse to develop the left flam. After you’ve mastered both right and left, practice them slowly and alternate.

Flam Development Exercises

NOTE: As the tempo of alternating flams increases, the grace note (tap stroke) becomes an upstroke.

(starting position for right flam) (starting position for left flam)

V

V


- 57 -

News

Flash

Sometimes when reading music you may come across the followingterms or symbols which guide you through the music. These “directions”will have you jumping ahead or going back to a specific measure.

Here are the terms and symbols most commonly used:

Road Map Signs % fi

D.C. = Da Capo - go back to the beginning

D.S. = Dal Segno - go back to the Sign -%

Fine = the end of the piece

Coda = a separate ending to the piece,denoted by a Coda Sign - fi

You will find these terms in many combinations, but the most commonly used are:

D.C. al Fine - Go back to the beginning and play to the Fine.D.S. al Coda - Go back to the Sign, play to the Coda Sign, then jump to the second

Coda Sign to end the piece.

Note: When playing a D.C. or D.S. (unless otherwise marked), the tempo should remain consistent - i.e. DON’T STOP!

In the example below you will play bars 1 through 8.The D.S. al Coda tells you to go back to bar 3 (the Sign) and play through the end of bar 6 (Coda Sign).

From the end of bar 6 you will “take the Coda” (jump to bar 9, second Coda Sign) and play to the end (bar 12).

the Sign

1st Coda Sign

2nd Coda Sign

In the example below you will play bars 1 through 12.The D.C. al Fine tells you to go back to bar 1 (the beginning) and play through bar 8 (Fine), which is the end of the piece.

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- 62 -

Sixteenth Note TripletsSixteenth note triplets subdivide an eighth note into three even notes as illustrated below:

œ

1

œ

&

œ

2

œ

&

œ

1

œ

ta

œ

ta

œ

&

œ

ta

œ

ta

œ

2

œ

ta

œ

ta

œ

&

œ

ta

œ

ta3 3 3 3

Be duh lee Be duh lee Be duh lee Be duh lee- - - - - - - -

Because sixteenth note triplets go by at amuch faster speed, counting them can besomewhat of a challenge. Here are a few

ways to count sixteenth note triplets:

1-ta-ta &-ta-ta Be-duh-lee Be-duh-lee

Buh-guh-duh Buh-guh-duh

1)

2)

3)

4)

5)

6)

Practice the following sixteenth note triplet exercises slowly at first. While you’re playing, focus on counting 1 - & - 2 - &.In the 2nd bar of each exercise, drop in the triplet(s) without disturbing the flow of the eighth notes.

After you’ve become comfortable with the exercises, reverse the sticking.

SixtupletsNews

Flash

Sixtuplets are two groups of sixteenth note triplets combined to make one group of six.

1)

2)

Sixtuplet ExercisesAfter you’ve become comfortable with these three exercises, reverse the sticking.

3)

V

V

V

V

- 63 -

Triple Meter (12/8, 9/8, 6/8 & 3/8 Time Signatures)

.œ .œ .œ .œ

÷8

12œ

1

œ

&

œ

a

œ

2

œ

&

œ

a

œ

3

œ

&

œ

a

œ

4

œ

&

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q.

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q.

In a measure of 12/8 there are twelve eighth notes, beamed in groups of three.A composition in 12/8 will typically be counted and/or conducted with fourbeats to the bar, making a dotted quarter note the beat. To simplify the counting,the groups of three are counted like triplets: 11 & a 22 & a 33 & a 44 & a

When playing in triple meter at a much slower tempo, counting each eighth note is the best wayto keep up with where you are within the measure. Emphasis should remain on the dotted quarter note (the beat).

Below are two common ways of counting when playing at very slow tempos using triple meter.

÷8

12œ

1

œ

&

œ

a

œ

2

œ

&

œ

a

œ

3

œ

&

œ

a

œ

4

œ

&

œ

a

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The Beat

A measure of 9/8 has nine eighth notesand will typically be conducted in three.

÷8

9œ

1

œ

&

œ

a

œ

2

œ

&

œ

a

œ

3

œ

&

œ

a

.œ .œ .œ

A measure of 6/8 has six eighth notesand will typically be conducted in two.

A measure of 3/8 has three eighth notesand will typically be conducted in one.

Music with a triplet “feel” is most commonly written using triple meter so groups of three do not have to be designatedwith a number above or below the group. Using triple meter simplifies the look of the music, and makes it easier to read.

In the example below the 12/8 measure is played and sounds exactly the same as the 4/4 measure.

œ œ œ œ

÷4

4œ

1

œ

&

œ

a

œ

2

œ

&

œ

a

œ

3

œ

&

œ

a

œ

4

œ

&

œ

a

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1)

2)

3)

played the same as bar 1

played the same as bar 1

Here are some common rhythmic figures found in triple meter time signatures.In the first two exercises, bars 1 & 2 are rhythmically identical but are written differently.

÷8

6œ

1

œ

&

œ

a

œ

2

œ

&

œ

a

.œ .œ

÷8

3œ

1

œ

&

œ

a

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V

V

V

- 61 -

LESSON 9 - Triplets & Triple MeterSo far in this book all of our reading exercises, solos and duets have been duple based, meaning that rhythms within the beatare divided into groups of two (eighth notes) or four (sixteenth notes). A triplet subdivides the beat or pulse into three evennotes as illustrated below:

œ

1œ

2œ

3œ

4

œ

1œ

&œ

2œ

&œ

3œ

&œ

4œ

&

œ

1œ

&œ

aœ

2œ

&œ

aœ

3œ

&œ

aœ

4œ

&œ

a

3 3 3 3

The three notes in an eighth notetriplet will be beamed together with thenumber “33” above or below the group.

There are several ways to count triplets:11-&-a 22-&-a 11-trip-let 22-trip-let

11-la-li 22-la-li (lah-lee) 11-2-3 22-2-3

In this book we’ll use:11--&&--aa 22--&&--aa

1)

2)

3)

Here are a few exercises incorporating eighth note triplets. Practice this at several tempos using a metronome, Stick Clix, or Groove Trax.Count as you play, and focus on keeping the triplet rhythms smooth and even.

4)

1)

2)

Grooves For ThoughtMastering the flow of the triplet is essential for the well-rounded drummer.

Triplets are the rhythmic basis for many styles of music including swing, blues and hip-hop. When practicing thesenext two exercises, emphasize the accents while keeping a steady groove with the unaccented notes.

quarternotes

eighthnotes

eighth notetriplets

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- 72 -

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Jivin’ On

Mixin’ It Up - Player 1These two pages allow you to create your own duets. Player 1 can pick either part on page 72, and Player 2 cando the same for page 73. Any combination will work, giving you four variations on the duet (as well as titles).


- 73 -

Monkey Hill

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Mixin’ It Up - Player 2

- 73 -

Monkey Hill

Funky Street


- 72 -

Groovin’ Down

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- 73 -

Monkey Hill

Funky Street


- 72 -

Groovin’ Down

Jivin’ On


- 75 -

The 15 Toolbox Essential Rudiments

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When you go to a festival, contest or audition, you may be asked to play certain rudiments “open - closed - open”.This means to start slowly, gradually get faster and slow down to your beginning point (anywhere from 30 to 60 seconds).

Slow - - - - - - - - - - - - - - - Fast - - - - - - - - - - - - - - - SlowYou’ll find a few examples on the Toolbox DVD.

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Topics covered in the 8-page

Timpani Tutorial found in MPT include:

l The Three Grips (German, French, & American) l Playing Areas

l The Bass Clef Staff l Drum Ranges

l The Legato Stroke l Tuning The Drums

l Ear Training l Rolls

l Two Drum, Three Drum, & Four Drum Exercises l Dampening

l (2) Etudes

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toolboc clinic book - kmea · w e! this clinic guide provides $ ˚˛ ˜from row-loff's toolbox...

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