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TRANSCRIPT
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BASSDRUMSECRETS
Railroad Media Presents...
By Jared Falk, Sean Lang, and
Dave Atkinson
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Copyright © 2011 Railroad Media Inc.
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Table Of Contents
Introduction 10Choosing A Pedal 10
Drum Tuning & Mufing 11
Pedal Settings & Adjustments 11
Seat Height & Posture 13
Bass Drum Setup Tips 13
Heels Up Technique 14
Heels Down Technique 14
Flat Foot Technique 15
To Bury Or Not To Bury 15
Conclusion 16
Introduction 17
Beginner Exercises 18
Intermediate Exercises 20
Advanced Exercises 22
Jazz Exercises 24
Developing The Technique 26
Developing The Weaker Foot 27
Pedal Settings 27
Bass Drum Pedals 27
Applying The Technique 28
Beginner Beats 31
Beginner Fills 33
Intermediate Beats 34
Intermediate Fills 36
Advanced Beats 37
Advanced Fills 39
Module #1 -
Module #2 -
Module #3 -
Module #4 -
Getting Started
Bass Drum
Independence
The Heel Toe
Technique
Heel Toe
Exercises
(DVD #1)
(DVD #2)
(DVD #3)
(DVD #3)
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Introduction 40
Footwear & Pedal Settings 41
Developing The Technique 41
Developing The Left Foot 42
Applying It Within A Beat 43
Applying It Within A Fill 44
Beginner Beats 47
Beginner Fills 49
Intermediate Beats 50
Intermediate Fills 52
Advanced Beats 53
Advanced Fills 55
The Element Of Groove 57
Developing Balance & Control 59
Basic 8th & 16th Note Patterns 61
Bass Drum Triplets 62
Foot Assignments 64
Single Stroke Beats 65
Single Stroke Fills 68
Note Value Exercises 70The Herta Lick 72
Introduction 74
Double Bass Warm-Ups 75
Developing The Weaker Foot 76
Double Bass Slide Triplet 77
Developing Slow Speeds 78
Developing Speed With Single
Strokes
79
Developing Endurance 81
The Swivel Technique 86
Practicing Along To Music 86
Developing Hand & Foot
Independence
87
Ending With Odd Numbers 89
Module #5 -
Module #6 -
Module #7 -
Module #8 -
The Slide Technique
Slide Technique
Exercises
Double Pedal Single
Strokes (Sean)
Double Pedal Single
Strokes (Dave)
(DVD #4)
(DVD #4)
(DVD #5)
(DVD #5)
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Basic 16th Note Patterns 91
16th Note Triplets With Double
Strokes
93
Herta’s With Double Strokes 94
Beginner Beats 97
Intermediate Beats 99
Advanced Beats 101
Beginner Beats 104
Beginner Fills 106
Intermediate Beats 108
Intermediate Fills 110 Advanced Beats 112
Advanced Fills 114
Introduction 116
One Foot vs. Two Foot 116
Skank Blast 117
Hammer Blast 118
Bomb Blast 119
Gravity Blast 120Traditional Blast 121
Hybrid Hammer Blast 122
Developing Speed With One Foot 123
Creating Groove Within Blasts 123
5 Stroke Rolls 125
6 Stroke Rolls 126
7 Stroke Rolls 127
9 Stroke Rolls 12811 Stroke Rolls 129
Swiss Army Triplets 130
Module #9 -
Module #10 -
Module #11 -
Module #12 -
Module #13 -
Double Pedal Single
Strokes (Jared)
Broken Double Bass
Beats
Double Bass
Exercises
Metal & Blast Beats
Rudiments With The
Feet
(DVD #6)
(DVD #6)
(DVD #6)
(DVD #7)
(DVD #7)
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Jared Falk’s Hand To Feet Combos 132
Dave Atkinson’s Hand To Feet
Combos
133
Sean Lang’s Hand To Feet Combos 135
Dave’s Play Alongs 138
Sean’s Play Alongs 139
Jared’s Play Alongs 140
Slide Technique 141
Double Pedal Slide Technique 141Swivel Technique 141
Double Pedal Double Strokes 142
Double Pedal Single Strokes 142
Feathering The Bass Drum 142
Heel-Toe Technique 142
Heel-Toe Double Stroke Roll 143
Heel-Toe Triple Stroke 143
Heel-Toe Hi-Hat Splash 143
Heel-Toe Over Multiple Pedals 143Double Stroke Herta’s 143
5 Stroke Rolls 144
6 Stroke Rolls 144
7 Stroke Rolls 144
9 Stroke Rolls 144
11 Stroke Rolls 144
Swiss Army Triplets 144
One Handed Roll 145
Break Beat 145Double Pedal Single Strokes 145
Single Stroke Four 145
Single Stroke Herta’s 146
Double Pedal Slide Triplet 146
Gravity Blast 146
Module #14 -
Module #15 -
Module #16 -
Module #17 -
Module #18 -
Hand To Feet
Combinations
Drum Play Alongs
(Dave)
Drum Play Alongs
(Sean)Drum Play Alongs
(Jared)Slow Motion
(DVD #7)
(DVD #8)
(DVD #9)
(DVD #10)
(DVD #11)
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Introduction 147
Gibraltar Intruder 147
Axis Longboard 148
Tama Speed Cobra 148
Tama Iron Cobra 149
Gibraltar 3311 149
Pearl Eliminator 149
Yamaha Flying Dragons 150
Pearl P900 150
Stomp Drive Direct Drive Retrot 150
Playing In Unison 151
Double Pedal Boot Camp 151
Flat Foot Technique 154
Double Strokes With One Foot 154
Drum Solo #1 (Dave) 154
Drum Solo #2 (Dave) 155
Drum Solo #3 (Sean) 155
Drum Solo #4 (Sean) 155
Drum Solo #5 (Jared) 155
Drum Solo #6 (Jared) 156
Drum Solo #7 (Jared) 156Drum Battle #1 157
Drum Battle #2 157
Drum Battle #3 157
Gear Talk 158
Triggers 158
Sean Lang Interview 158
Dave Atkinson Interview 159
Jared Falk 159
Behind The Scenes 159Credits & Outtakes 159
Track Listing 160
Credits 171
Module #19 -
Module #20 -
Pedal Reviews
Drum Play Alongs
(Dave)
(DVD #11)
(DVD #12)
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Drum Set Notation Key
œ œ œ œ
œ œ œ œ
x x x x
x x x x
z z z z
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
y y y y
Å Å Å Å
x x x x
x
o
x
o
x
o
x
o
x
x
x
x
>
œ
>
œ
>
œ
>
Snare Drum
Ride Cymbal
2nd Tom (Mid Tom)
Cross-Stick
Open Hi-Hat
Accented Notes
Bass Drum
Crash Cymbal
3rd Tom (Low Tom)
Ride Cymbal Bell
Closed Hi-Hat
Repeat
Hi-Hat
1st Tom (High Tom)
2nd Bass Drum
Hi-Hat With Foot
Ghost Notes
Drum Fill
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Welcome
Welcome to Bass Drum Secrets 2.0! This product gives you all the tools
you need to take your bass drum technique and drumming to the next level
while having a ton of fun. If you’re just getting started, check out the intro-
duction and get to know the men that will always be here to teach you bass
drum techniques: Jared Falk, Sean Lang, and Dave Atkinson.
With this product, practice, patience, and a very strong will to succeed will
get you on your way to becoming the drummer you aspire to be. As you
make your way through the exercises in this product, always remember
that it takes hard work and a lot of perseverance to become procient with
any musical instrument. If you keep at it you WILL succeed. Just keep a
positive mind-set and most important of all, enjoy the ride.
yrightCopyright © 2011 Railroad Media Inc.
9
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10
Module
DVD #1
Module #1 - Getting Started
Introduction
The “Getting Started” Module is the perfect introduction to BDS 2.0. You will get to
know your three instructors: Jared, Sean, and Dave while learning essential bass
drum fundamentals.
Lessons Include:
Choosing A Pedal • Bass Drum Setup Tips•
Drum Tuning & Mufing • Heel Up Technique•
Beater Choice• Heel Down Technique•
Pedal Settings & Adjustments• Flat Foot Technique•Seat Height & Posture• To Bury Or Not To Bury •
Bass Drum Speed Tips•
Choosing A Pedal
With the amount of different brands and pedal
specications that we have at our disposal
nowadays, choosing a bass drum pedal can
be a daunting task. Like drumsticks, what tolook for in a bass drum pedal can be very sub-
jective – it depends heavily on your personal
requirements. In this lesson, Jared, Sean and
Dave, share their thoughts on what they look
for when choosing a bass drum pedal, which
will give you a greater level of condence and
knowledge when choosing one for yourself.
What’s great about this lesson is that you’ll
get three different sets of opinions from threevery experienced drummers that have gone
through many bass drum pedals. The tips and
tricks shared here will help you attain a better
understanding on what you should look out for
in regards to build quality, features, and feel.
Refer to page 146 for a number of detailed
pedal reviews.
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1Mod
Drum Tuning & Mufing
Like most things related to drumming, a good bass drum sound depends on numerous
factors. Having a good understanding of some of them will help you shape the sound to
your liking. There’s no such thing as “the right way” or “the only way” to tune or mufe adrum. In the video, Jared, Sean, and Dave go over
their personal mufing and tuning preferences. This
lesson is lled with great tips and tricks regarding not
only tuning and mufing, but drumhead selection and
tuning for gigs.
The more time you spend experimenting with differ-
ent types of tuning, drumheads, mufing, and miking
techniques, the better you’ll understand the steps
you’ll need to take in order to achieve the sound you
want. It’s all about how you want to sound. If you don’t know how you want to sound,
focus on the bass drum sound of some of your favorite drummers and favorite record-
ings for inspiration.
Beater Choice
Choosing a beater is often overlooked by drummers. We tend to
focus our attention on bass drum pedals, mufing and tuning tech-niques, however the type of beater you use inuences your sound
and overall feel. In this lesson, Jared, Sean, and Dave discuss how
the material of beaters inuences the sound, tone, and feel you get
from the bass drum and auxiliary percussion. They also give some
insight on what types of beaters to use on electronic drums, and
how the weight of the beater inuences the way you play.
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Module
Pedal Settings & Adjustments
Bass drum pedals are extremely adjustable. Even the cheapest ones have quite a few
options. It can be overwhelming to gure out exactly how each setting will affect pedal
response and feel, and how to use them to get the pedals to behave as you want themto. To help you out on this, Jared, Sean, and Dave discuss some of the most common
pedal set-ups, and share some cool tips and tricks that will have you spending more
time playing the pedals than setting them up.
When it comes time to adjust your bass drum pedals, you have to be aware that you’ll
get a different response and feel from them as you change their settings. Jared, Sean,
and Dave go over their own preferences in this lesson, with results from various years of
experimentation. Use their tips as a guide as you mess around with your pedal settings.
As you’ll get to see from Jared’s preferences, even the weirdest settings can work very
well. Don’t be afraid to experiment and focus on comfort and results.
Adjust Spring Tension
Loosen The Screw
Adjust Both Beaters
To The Same Height
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1Mod
Seat Height & Posture
A well set up throne and proper posture will
enhance your drumming. Seat height and
posture also allow you to play comfortablyfor longer periods at a time. This makes it
much easier for you to enjoy the time you
spend behind the kit. In this lesson, Jared,
Sean, and Dave go over their drum throne
preferences, the way they sit behind a drum
set, and discuss the advantages of their
methods. They give you an overview of
some of the most common problems you’ll
nd when using improper posture and seat
height.
A good stool is a very important tool in help-
ing you keep a proper posture behind the
drum set. A drum throne with a back rest
is a great example. It prevents you from
straining your back and avoiding long term injuries. You don’t have to buy a stool with a
back rest like Jared’s, but don’t forget to think about your comfort rst and foremost the
next time you go out to buy a new throne.
Bass Drum Setup Tips
A drum kit set up to suit your body speci-
cations makes a huge difference in
your playing. Don’t underestimate the
power of comfort when playing drums.
The more comfortable you are the better
you’ll be able to play and for longer peri-
ods of time. In this lesson, Jared, Sean,and Dave dive into the world of bass
drum setup, discussing bass drum and
pedal positioning.
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Module
Heels Up Technique
The heel up technique is used by the majority of rock and double bass drummers. The
idea behind this technique is that of keeping the heel off of the foot plate while you
perform a stroke using your whole leg. This way you can get a lot of volume and powerfrom each stroke, especially when compared to the heel down technique. In this video
lesson, Jared, Sean, and Dave discuss the heel up technique, how to execute it prop-
erly, and how to play it without burying the beater.
Heels Down Technique
With the heel down technique the heels never lift off of the pedal. It’s a great techniquefor soft playing. For example, it’s a very common technique in jazz drumming. Thomas
Lang however uses it for powerful and fast playing, so this technique is very versatile. In
this lesson, Jared, Sean, and Dave, discuss the heel down technique and how it can be
applied to your drumming.
The way you use this technique will depend greatly on the type of sound you wish to
produce. You can bury the beater on the drumhead, which is great for rock and all types
of heavy music since the strokes generate a lot of power and volume, while choking thesound of the bass drum at the same time. You can play a stroke and let the beater re-
bound, which creates a fat and resonant sound, which is great for playing funk and any
type of groove based music. In the video, Jared demonstrates how he keeps the beater
off of the drumhead while using the heel up technique. If you want to know more about
burying the beater, check the lesson “To Bury Or Not To Bury” in this module on page
15 .
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1Mod
The muscles we use the most for playing the heel down technique are commonly un-derdeveloped, since there are very few things we do on a day-to-day basis that uses
them. Heel down playing is one of the few things we can do to exercise those muscles.
Strengthening them will get you playing heel down with more speed, power, and control.
You must be patient when practicing this technique. It takes quite a long time to develop
any muscle. Practicing heel down playing for long periods of time is the best way to
ensure a fast muscle growth.
Flat Foot Technique
The at foot technique is basically a hybrid foot technique for playing fast strokes withyour feet. It’s not heel up nor heel down, it’s a mix between both. In this lesson, Sean
Lang introduces you to the at foot technique, showing exactly how it’s played and how
it works.
This is an introductory lesson on the at foot technique. For further explanation of the
Flat Foot Technique check out Sean’s in depth explanation of it in Module #20.
To Bury Or Not To Bury
Burying the beater is when you keep it in contact with the bass drum head right after
performing a heel up stroke, and actually chokes the sound of the bass drum. This
technique is often associated with rock drummers. In this next video, Jared, Sean, and
Dave discuss the advantages and disadvantages of burying the beater into the bass
drumhead.
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Module
To Bury Or Not To Bury (Continued)
Burying the beater is usually a side effect of heel up playing. If you want to be an all-
around drummer, using this technique all the time won’t get you far. Jazz, R&B, Latin,
and even some styles of rock require a more open tone from the bass drum. It’s impor-tant you learn how to play the bass drum with and without burying the beater. There are
two good approaches for getting your beater to stay off of the drumhead.
The rst one is by using heel down playing. Due to the low pressure the ball of the foot
has on the foot plate, it’s easy for the beater to just bounce back after hitting the bass
drum. The second one is actually executed while in heel up position. Right after per-
forming a stroke, relax the ball of the foot and let it come down to rest on the pedal. This
is something hard to get at rst, but like everything, diligent practice will allow you to
master this approach. Watch Jared in this video as he demonstrates how he keeps the
beater off of the drumhead while using heel up technique. Use his demo to study the
required motions to play heel up without burying the beater.
Conclusion
This rst module focuses heavily on gear tips, setup, and basic foot technique. Although
you can skip it all together and go right to the instructional portion of Bass Drum Se-
crets, we encourage you to make sure you go through all the lessons here. They are
valuable resources that will really help you make the right decisions for your drumming
techniques. The lessons contain material to which Jared, Sean, and Dave will refer back
to during the other modules, so it’s best if you just watch them before the rest so youwon’t get lost later on.
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Mod
2
Introduction
Total independence is one of the most
sought out things in the world of drum-
ming. Independence is what lets you
perform whatever you feel like playingwith each limb at a given time. Much
like everything drum related, for get-
ting more independence takes prac-
tice. This next video is an introductory
lesson to bass drum independence.
Here, Jared Falk explains what you
can expect from this module, what
type of exercises you’ll be working on,
and gives you two very cool exercises
for you to start working on your bass
drum independence right away.
The hand patterns provided with this lesson will be heavily used in the lessons included
in this module. Nevertheless, you can combine them with every foot pattern included in
the Bass Drum Secrets as well. So, once you’ve gone through a lesson in this product,
go back to it and play these hand patterns with the foot patterns notated in the exercis-
es. This is a great way for working on new ideas, independence, and to expand on the
material included in this pack.
DVD #2
Module #2 - Bass Drum Independence
Mod
2
Bass Drum Independence is something that a lot of drummers struggle with. Separating
your hands from your feet and your right foot from your left foot is no easy task. That’swhere this module hits the mark. It includes beginner, intermediate, and advanced hand
patterns that are designed specically to take your bass drum independence to the next
level. Then once you have completed the module, you can apply your new skills with
some of the included drum play along songs.
Lessons Include:
Introduction•
Beginner Exercises•
Intermediate Exercises• Advanced Exercises•
Jazz Exercises•
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Module
2
DVD #2 | Module #2 - Bass Drum Independence
Beginner Hand Patterns
Welcome to the beginner section of the Bass Drum Independence Module. Here we
have given you six hand patterns and ten beginner foot patterns to combine. For each
hand pattern, you go through all ten foot patterns with your dominant foot. The level of
difculty increases as you progress through each pattern. In the video, Jared takes you
through some combinations between the hand and foot patterns, so you can see exactly
how they should be played. Although the material in this lesson is mostly used for devel-
oping your independence, you can still apply it to your everyday playing.
Once you can play these combinations accurately, go through them once again adding
the hi-hat foot as notated on the sheet music on page 25 . You can further expand on
these combinations by having your weaker foot play the bass drum patterns instead,
use the hi-hat pedal to play them if you only have one bass drum pedal. Once you
have that down, go through all combinations by playing the bass drum patterns with theweaker foot and the hi-hat foot patterns with the stronger foot. All of these different com-
binations are awesome for developing control and independence with your weaker foot.
1) 2)
3) 4)
5) 6)
1 001-020
1 041-060
1 081-100
1 021-040
1 061-080
1 101-120
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Mod
2Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
1) 2)
3) 4)
5) 6)
7) 8)
9) 10)
DVD #2 | Module #2 - Bass Drum Independence
Beginner Foot Patterns
090120 1
090120 1
090120 1
090120 1
090120 1
090120 1
090120 1
090120 1
090120 1
090120 1
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Module
2
DVD #2 | Module #2 - Bass Drum Independence
Intermediate Hand Patterns
Much like the beginner lesson on bass drum independence, in this lesson, Jared takes
you through all possible combinations between six hand patterns and ten intermedi-ate foot patterns, so you can see exactly how they sound and how they should be
played. The hand patterns are exactly the same as the ones used in the beginner les-
son. The difference here is in the foot patterns, which are based around 8th and 16th
notes. These patterns are challenging so make sure you start slow, get the sequence of
strokes down, and then slowly increase the tempo. It’s very important that you’ve taken
the time to go through the beginner lesson before trying these exercises.
Again, once you can play these combinations accurately, go through them once again
adding the hi-hat foot as notated on the sheet music on page 25 . These six hand pat-
terns can be used in other lessons as well. You can do so by taking any beat from Bass
Drum Secrets, remove the original hand pattern and add one of these six on top of thenotated foot pattern. This is a great way of expanding the material on this training pack.
1) 2)
3) 4)
5) 6)
1 121-140
1 161-180
1 201-220
1 141-160
1 181-200
1 221-240
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Mod
2
DVD #2 | Module #2 - Bass Drum Independence
Intermediate Foot Patterns
Œ
Œ
Œ Œ
Œ Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
1) 2)
3) 4)
5) 6)
7) 8)
9) 10)
110130 1
110130 1
110130 1
110130 1
110130 1
110130 1
110130 1
110130 1
110130 1
110130 1
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Module
2
DVD #2 | Module #2 - Bass Drum Independence
Advanced Hand Patterns
In this lesson, Jared takes you through multiple combinations between six hand patterns
and ten advanced foot patterns, so you can see exactly how they sound and how theyshould be played. The hand patterns are exactly the same as the ones used in the be-
ginner and intermediate lessons. He also teaches you how to continue to work on foot
independence once you’re done with the exercises provided in this module. Make sure
you’ve been through the beginner and intermediate lessons on bass drum indepen-
dence before diving into these patterns as these are very challenging. Remember, start
slowly, learn the sequence rst, and then increase the tempo gradually.
The hand and foot patterns that we’ve given to you in these lessons on bass drum in-dependence can be mixed and matched to create new combinations for you to work on.
For instance, take the rst count of hand pattern #5 and use it to replace the third count
on hand pattern #2, and take the second count of hand pattern #6 and replace the sec-
ond count of hand pattern #2 with it. Then, take this new hand pattern and go through
the beginner, intermediate, and advanced foot patterns. This is not only a cool way of
coming up with new exercises, but also of creating new drum beats. Use this concept
for creating new foot patterns as well.
1) 2)
3) 4)
5) 6)
2 001-020
2 041-060
2 081-100
2 021-040
2 061-080
2 101-120
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Mod
2
Advanced Foot PatternsDVD #2 | Module #2 - Bass Drum Independence
r
‰
r
‰
r
‰
r
‰ ‰
r
‰
r
‰
r
‰
r
‰
‰
‰
‰
‰
‰
r
‰ ‰
‰ Œ
r
‰ Œ
3
Œ
3
Œ
3
Œ
‰
3
‰
3
‰
3
‰
3
3
‰
‰
‰
r
1) 2)
3) 4)
5) 6)
7) 8)
9) 10)
110130 2
110130 2
110130 2
110130 2
110130 2
110130 2
110130 2
110130 2
110130 2
110130 2
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Module
2
DVD #2 | Module #2 - Bass Drum Independence
Jazz Exercises
It’s essential to develop a solid understanding of jazz independence for “comping”
purposes. Comping is a term used in jazz music to refer to the ability of complementing
or accompanying other musician’s musical phrasing. The more you work on jazz inde-
pendence the easier it will be for you to react on the spot with what other musicians are
doing. In this lesson, Jared introduces you to the world of jazz bass drum independence
by showing you how to play ten bass drum patterns based in 8th note triplets. Practicing
jazz comping will also do wonders for your blues, hip-hop, reggae, and shufe playing.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1) 2)
3) 4)
5) 6)
7) 8)
9) 10)
120 1212
120 1232
120 1252
120 1272
120 1292
120 1202
120 1242
120 1262
120 1282
120 1302
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Mod
2
DVD #2 | Module #2 - Bass Drum Independence
Additional Independence Exercises
To make the previous hand patterns even more challenging, consider adding in the hi-
hat foot on the following counts. This will help further build your independence between
all four of your limbs.
For even further work on your independence, play the hi-hat with your weaker hand and
the snare drum with your stronger hand while going through different foot patterns. This
is a great idea for strengthening your weaker hand and for developing control and inde-
pendence with it as well.
1)
2)
3)
4)
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Module
3
Developing The Technique
The heel-toe technique has been around for quite some time, but only recently has it
become very popular amongst the drumming community. This is a great technique for
playing fast double strokes with the feet, much like the slide technique. It is argued that
the heel toe technique is easier to control than the slide technique, since you’re only re-
quired to learn the correct foot motion instead of having to spend time building your leg
muscles. In this lesson, Jared Falk breaks down the heel-toe technique for you, show-ing you exactly how and what to practice to develop it. He also takes the time to debunk
some of the more common myths associated with the heel-toe technique as well, like
foot size, type of footwear, and type of bass drum pedal.
As you practice this technique, strive for
having the two motions meld into one
single rocking motion with the foot. The
rocking motion is what will enable you to
play a fast double, since you’ll get two
strokes from one single motion. Don’tslam the foot too hard onto the footboard
when playing the heel stroke; easy does
it. It may take you ve minutes, or it may
take you ve hours to learn how to play
this technique. Time doesn’t really mat-
ter here, you can do it. You just have to
be very patient and keep at it.
DVD #3
Module #3 - The Heel Toe Technique
The heel-toe technique has always been somewhat of a mystery to many drummers.
When taught correctly, it can be learned in a few short minutes. However, without properinstruction, it can easily take days or even weeks of trial-and-error to get it working. This
module simplies the process and teaches you how to play the heel toe technique with
step-by-step examples. You will learn how to master the technique and how to apply it
within your drumming.
Lessons Include:
Developing The Technique• Bass Drum Pedals•
Developing The Weaker Foot • Applying The Technique•
Pedal Settings•
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Mod
3
Developing The Weaker Foot
Having the ability to play the heel-toe technique with your feet will take your drum-
ming to a whole new level. Even if you don’t use a double bass pedal you still have
the hi-hat pedal and the bass drum pedal to work with, so you’re still a double pedal
drummer. Heel-toe works great on the hi-hat, enabling you to play very fast hi-hat
splashes. Watch this drum lesson and nd out how to develop heel-toe with your
weaker foot, so you can use it on the hi-hat pedal, on your second bass drum pedal
or even on an auxiliary percussion pedal.
Pedal Settings
If you only have a really cheap double bass or single bass drum pedal, don’t worry
about it. The heel-toe technique can be performed on virtually any pedal there is. You
don’t need to have the most expensive pedal on the market that features eighty different
adjustments to be able to play this technique. In this lesson, Jared Falk shows exactly
what you can adjust on your pedal that will help you play the heel-toe technique with
ease.
Bass Drum Pedals
Virtually any pedal works with the heel-toe tech-
nique. The type of pedal you use depends on your
own personal preferences. In this lesson Jared
shares his thoughts on a few pedals he thinks
have the best price/quality relationship for playing
the heel-toe technique. If you’re thinking of up-
grading to a new bass drum pedal, this lesson will
be very helpful.
In the video, Jared shares three pedal possibili-
ties for you to purchase. However, as you may be
well aware of, there are a ton more out there that
could be better for you. So after you’re done with
this video, check out module 19 for pedal reviews
on the models Jared talked about in this video, as
well as some other very popular bass drum pedals.
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Module
3
DVD #3 | Module #3 - The Heel Toe Technique
Applying The Technique
This lesson is where the fun really begins. Here, you’re introduced to your rst drum
beats and drum lls that incorporate the heel-toe technique. If you haven’t taken thetime to work on the previous lessons from this module, make sure you go over them
rst. Doing so will enable you to go through these exercises a lot quicker and with
better sounding results.
Applying the heel-toe technique to the drum set is the next natural step. Each exer-
cise on this lesson works on different aspects of this technique. You have very differ-
ent note values to work with, some hand-to-feet combinations, and single stroke roll
to double stroke roll transitions. Jared also teaches you how to play a triple stroke
using heel-toe, as well as how to use the heel-toe technique on the hi-hat pedal.
3
1)
2)
3)
4)
Let’s start practicing the heel-toe technique by playing this beat on the drum-set.
Next, let’s use the technique within a simple drum ll.
Now we’ll apply the technique to the double pedal and play the beat below.
Take your time developing this next ll. Start at a tempo that you feel most comfort-
able playing the technique. From there, you can slowly speed it up over time.
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Mod
33
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
8)
9)
10)
6)
7)
5)
The below exercise is just one example of how the heel-toe technique can be used to
play quick triple strokes.
Use this exercise to independently work on your right and left foot.
This pattern can be lead with your right or left foot.
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Module
4
DVD #3
Module #4 - Heel Toe Exercises
Module #3 is dedicated to teaching you how to develop the heel-toe technique accurate-
ly. Once you’ve been through its lessons and are able to play the heel-toe comfortablywith at least one foot, you can start working on the exercises Jared Falk included in this
module.
This fourth module covers beginner, intermediate, and advanced drumming patterns
that make specic use of this unique technique. These examples will help you get
started with incorporating double strokes in beats, and will leave you well prepared for
creating your own unique heel-toe-based beats and lls in the future!
If you use a different technique from the heel-toe, like the slide technique for instance,
you can still use every exercise in this module. You just have to replace the heel-toe
double strokes with the technique you’re most comfortable with to perform bass drum
double strokes. Once you’ve mastered these exercises, go through all of them with your
weaker foot as well.
Lessons Include:
Beginner Beats• Intermediate Fills•
Beginner Fills• Advanced Beats•
Intermediate Beats• Advanced Fills•
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Mod
4
DVD #3 | Module #4 - Heel Toe Exercises
Beginner Beats
1)
2)
3)
4)
5)
100150
1311322
100150
1331342
100150 1351362
100150
1371382
100150
1391402
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Module
4
DVD #3 | Module #4 - Heel Toe Exercises
Beginner Beats (continued)
6)
7)
8)
9)
10)
100150
1411422
100150
1431442
080
110
145
1462
080110
1471482
080110
1491502
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DVD #3 | Module #4 - Heel Toe Exercises
Mod
4
Beginner Fills
The number of drum lls you can come up with is not limited by the number of ex -ercises on the Bass Drum Secrets, it’s limited only by your imagination. Like Jared
states in the video, after you’ve mastered the lls as notated, you can start by mov-
ing your hands around different drums and cymbals to come up with new variations.
Other cool things you can do include playing some of the double strokes with the hi-
hat pedal instead, playing the doubles as singles and spread them between the two
pedals, and changing the sticking pattern of the hand strokes.
R
L
L
R
R
L
L
R
1)
2)
3)
4)
5)
120160
1511522
120160
1531542
120160
1551562
120160
1571582
120160
1591602
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DVD #3 | Module #4 - Heel Toe Exercises
Module
4
Intermediate Beats
After you’ve been through the beginner drum beats and drum lls in this module,we recommend checking out this lesson next. These ten intermediate exercises are
designed to get you working with heel-toe on 16th note triplet foot patterns. These
drum beats are for you to exercise the heel-toe technique and to inspire new ideas in
your playing.
3
3
3
3
3
3
3
3
3
1)
2)
3)
4)
080100
1611622
080
100
163
1642
080100
1651662
080100
1671682
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Mod
4
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
R
L
R
3
L
3
R
L
R
3
L
3
R
L
R
3
L
6)
7)
8)
9)
10)
5)
080100 1691702
080100
1711722
080100
1731742
080100
1751762
080
100
177
1782
080100
1791802
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Intermediate FillsDVD #3 | Module #4 - Heel Toe Exercises
Module
4
Much like the lesson on intermediate drum beats played with the heel-toe technique,the following exercises are focused heavily on 16th note triplets. In this video, you’ll
nd ve hand to feet combinations and some tips to help you improve the time you
spend behind a drum set practicing these drum lls.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1)
2)
3)
4)
5)
100140
1811822
100140
1831842
100140
1851862
100140
1871882
100140
1891902
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DVD #3 | Module #4 - Heel Toe Exercises
Mod
4
Advanced Beats
The ten advanced drum beats Jared created for you in this lesson are built upon thebeginner and intermediate videos. These beats incorporate the rhythmic themes of
those lessons, 16th notes and 16th note triplets, as well as 32nd notes, linear drum
beats, tom patterns, and even some syncopation with the snare drum. You’ll have a
blast with this one.
o
+
R
R
L
L
R
R
L
L 3
R
3
3
3
3
3
3
3
3
3
3
3
3
3
1)
2)
3)
4)
5)
080130 1911922
080110
1931942
080110
1951962
100140 1971982
080110
1992002
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DVD #3 | Module #4 - Heel Toe Exercises
Module
4
Advanced Beats (continued)
œ œ
œ œ
œ
œ
œ œ
œ œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ
œ
œ œ
œ œ
œ œ
œ
R
L
R
œ
L
œ
œ
R
R
œ
L
œ
L
R
œ
L
œ
R
œ
L
œ
œ
R
R
œ
L
œ
L
3
œ œ
3
œ œ
œ
3
œ œ
3
3
œ œ
3
œ
3
œ œ
3
œ
œ
3
œ
œ œ
3
œ œ
3
œ
œ œ
6)
7)
8)
9)
10)
080110
2012022
080100
2032042
080
110
205
2062
080110
2072082
080120
2092102
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DVD #3 | Module #4 - Heel Toe Exercises
Mod
4
Advanced Fills
R
L
L
R
R
L
L
R
R
L
L
R
R
L
o
3
3
o
o
1)
2)
3)
4)
5)
In this lesson, Jared Falk teaches you how to execute ve advanced drum lls basedon 32nd notes. He also gives you some cool tips on how to create lls as well as
how to practice the exercises here so you can see big results quickly. Remember
to work on the beginner and intermediate heel-toe drum lls before taking on these
ones.
070100
2112122
070100
2132142
070100
2152162
070
100
217
2182
070100
2192202
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Module
5
DVD #4
Module #5 - The Slide Technique
This module covers the slide technique, a popular alternative to the heel-toe technique.The slide technique can be used in many different styles of music and is a natural way
to play quick double strokes.
Introduction
In this lesson, Dave Atkinson introduces you to the slide technique. The slide technique
is Dave’s weapon of choice for playing fast double strokes with a single pedal. This is an
awesome technique to learn and develop, and much like the heel-toe, it will let you add
some doubles here and there without the need to use a double bass drum pedal.
Lessons Include:
Introduction• Developing The Left Foot •
Footwear & Pedal Settings• Applying It Within A Beat •
Developing The Technique• Applying It Within A Fill •
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Mod
5
Footwear & Pedal Settings
How important is the type of shoes I wear? What about playing with socks or barefoot?
I have big feet, will I be able to perform this technique properly? How do I setup the
pedals to improve my playing experience? If these are some of the questions you have
regarding this technique, then look no further. In this lesson, Dave answers all of those
questions and much more.
Developing The Technique
This technique may take a little longer to master than heel-toe, since it’s not only
required of you to learn the proper motions behind the technique, but to spend some
time building your leg muscles to perform it at faster tempos. In this lesson, Dave
breaks down the slide technique for you, showing you exactly how and what to prac-
tice to develop it. Below are ve basic exercises for you to start practicing the slide
technique.
3
3
3
3
1)
2)
3)
4)
5)
090 2212
090 2222
150 2232
180 2242
170 2252
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DVD #4 | Module #5 - The Slide Technique
Module
5
Developing The Left Foot
Having the ability to play the slide technique with both feet will take your drummingto a whole new level. Even if you don’t use a double bass pedal you still have the hi-
hat pedal and the bass drum pedal to work with. Watch this drum lesson and nd out
how to develop the slide technique with your weaker foot, so you can use it on the
hi-hat pedal, on your secondary bass drum pedal or even on an auxiliary percussion
pedal.
3
3
3
3
1)
2)
3)
4)
5)
090 2262
090 2272
135 2282
150 2292
145 2302
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DVD #4 | Module #5 - The Slide Technique
Mod
5
Applying It Within A Beat
Now that you’ve learned how to play the slide technique with at least one of your
feet, it’s time to put it to good use. In this lesson, Dave Atkinson teaches you how to
play eight drum beats that incorporate the slide technique. The exercises you’ll nd
in this lesson range from punk, to shufe and even samba based drum beats. As you
play these exercises you’ll start to realize that the slide technique is applicable to all
different styles of music.
3
3
3
3
3
3
3
1) 2)
3) 4)
5) 6)
7) 8)
180 2312
095 2332
115 2352
135 2372
145 2322
110 2342
125 2362
160 2382
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DVD #4 | Module #5 - The Slide Technique
Module
5
Applying It Within A Fill
Now that you’ve been through the drum beats written specically for practicing theslide technique, it’s time to complement them with some very cool sounding drum
lls that incorporate the slide technique. The eight exercises provided here are basi-
cally hand to feet combinations that incorporate 8th notes, 16th notes, 16th note
triplets, and 32nd notes, which range from beginner to advanced.
œ
œ
œ
œ
œ
œ œ
œ œ
œ
œ
œ œ
œ œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ
œ œ
œ œ
œ œ
œ
œ
œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ
1)
2)
3)
4)
100 2392
100 2402
120 2412
130 2422
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Mod
5
3
3
3
3
3
3
3
6)
7)
8)
5)
095 2432
100 2442
100 2452
100 2462
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Module
6
DVD #4
Module #6 - Slide Technique Exercises
In Module 6, you’ll get a chance to apply the slide technique within practical beats and
lls. It includes a collection of beginner, intermediate, and advanced patterns that pro-gressively increase in difculty. Put your new found slide technique skills to work using
these fun exercises, and be prepared to see a dramatic boost in the way you creatively
incorporate the bass drum within music.
If you use a different technique from the slide, like the heel-toe for instance, you can still
use every exercise in this module. You just have to replace the slide with the technique
you’re most comfortable with to perform bass drum double strokes. You can play the
exercises with your dominant foot at rst, and when you’ve mastered them go through
them with your weaker foot.
Lessons Include:
Beginner Beats• Intermediate Fills•
Beginner Fills• Advanced Beats•
Intermediate Beats• Advanced Fills•
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DVD #4 | Module #6 - Slide Technique Exercises
Module
6
Beginner Beats (continued)
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
3
œ
œ
3
œ
3
œ
œ
6)
7)
8)
5)
100 0053
100 0063
110 0073
150 0083
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DVD #4 | Module #6 - Slide Technique Exercises
Mod
6
Beginner Fills
In this lesson, Dave shows you how to apply the slide technique to ve beginnerdrum lls. The number of drum lls you can come up with is not limited by the num -
ber of exercises on the Bass Drum Secrets, it’s limited only by your imagination. Af-
ter you’ve mastered the lls as notated, you can start by moving your hands around
different drums and cymbals to come up with new variations.
œ
œ
œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ œ
œ œ œ œ
œ œ
œ œ
œ
œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œ œ
œ œ œ œ œ œ
1)
2)
3)
4)
5)
115 0093
115 0103
125 0113
125 0123
135 0133
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DVD #4 | Module #6 - Slide Technique Exercises
Module
6
Intermediate Beats
After you’re comfortable with the beginner drum beats and drum lls in this module,we recommend going through this lesson next. These eight intermediate exercises
are designed to get you working on the slide technique with 8th note triplet, 16th
note triplet, and 32nd note foot patterns. These drum beats were designed to chal-
lenge you a bit more and to inspire new ideas in your playing.
These intermediate drum beats are loaded with very different patterns for the snare
drum and for the hi-hat. You can use them to spice up other drum beats in this edu-
cational pack, or even your own. Another cool way of coming up with interesting
hand patterns is to mix different sections from different beats and try them over a
preexisting foot pattern. The possibilities are endless.
o
o
o
o
1)
2)
3)
125 0143
160 0153
095 0163
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Mod
6
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ œ
3
œ
œ
œ œ
3
œ
œ
œ œ
3
œ
œ œ
3
œ
œ
œ œ
3
œ
œ
œ œ
3
œ
œ œ
3
œ
œ œ
3
œ
‰
œ
3
œ
œ œ
3
œ
œ œ
3
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105 0183
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150 0203
150 0213
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Intermediate FillsDVD #4 | Module #6 - Slide Technique Exercises
Module
6
In this video, Dave Atkinson shows you how to play four intermediate hand to feetcombinations using the slide technique. Once you’ve been through the following
exercises, use the tips we gave you in the beginner lesson on drum lls and in the
intermediate lesson on drum beats to come up with new variations of your own while
using these intermediate exercises as a template. You could also try adding rests in
some of the lls, instead of playing all the 16th note or 16th note triplet partials. Mix-
ing different note values within the same ll is also a great way to change things up.
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1)
2)
3)
4)
145 0223
090 0233
130 0243
090 0253
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53
DVD #4 | Module #6 - Slide Technique Exercises
Mod
6
Advanced Beats
Here, you’ll nd linear drum beats, 16th note triplet and 32nd note based patterns,
samba, shufe and even soca (Soul-Calypso) based drum beats. These exercisesare challenging but a lot of fun to play around with. You’ll have a blast with this les-
son.
In the beginner and intermediate lessons we discussed some construction tech-
niques for building your own drum beats from preexisting ones. Here, we’ll discuss
some techniques for accelerating your learning process while taking on new drum
beats. The rst priority when learning any pattern on a set of drums is to memo -
rize the stroke sequence. It’s important to start slowly at rst so you can make sure
you’re playing the strokes in the proper sequence. You can do this in a count by
count manner, that is, only when you’ve memorized the pattern inside of a given
count will you move on to learn the next one. Then, you just have to work on playingthe counts one after the other. Start by playing two counts back-to-back, then three
and so on.
Once you have that down, add the metronome in to start lining everything up per-
fectly. Since we’re handling beats that incorporate double strokes with the feet, you
can focus on learning the pattern without the doubles at rst – play one single stroke
instead of each set of doubles. This is a great way of focusing on the feel of the beat.
Get to know exactly how every thing sounds before you start adding the doubles
back in. This will make it easier for you to incorporate them afterwards, since your
mind will know exactly how everything must sound.
1)
2)
3)
120 0263
125 0273
130 0283
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DVD #4 | Module #6 - Slide Technique Exercises
Module
6
Advanced Beats (continued)
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100 0303
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100 0323
140 0333
120 0343
155 0353
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55
DVD #4 | Module #6 - Slide Technique Exercises
Mod
6
Advanced Fills
In this lesson, Dave Atkinson teaches you how to execute ve advanced drum llsbased around 16th note triplets and 32nd notes using the slide technique.
Once you’ve completed this module, you can keep working on your own variations
from the examples provided here, you can go through the entire collection of exer-
cises with your weaker foot, or you can just move on. If you want more exercises
to help you work on the slide technique, check out Jared Falk’s module on heel-toe
drum beats and drum lls. You can use those exercises by playing the slide tech-
nique on all the double strokes instead of the heel toe. You can also check Jared
Falk’s module on playing double stroke rolls within drum beats and drum lls, to work
on your slide technique double pedal chops.
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1)
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3)
4)
5)
090 0363
095 0373
085 0383
090 0393
115 0403
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56
Module
7
DVD #5
Module #7 - Double Pedal Single Strokes (Sean)
In this module we take a look at double pedal single strokes with Sean Lang. Playing
quick single strokes is a valuable part of playing both single and double bass, so makesure you check out this module. Understanding these concepts and knowing how to ap-
ply them on-demand will be an invaluable asset to you as a well rounded drummer.
Lessons Include:
The Element Of Groove• Single Stroke Beats•
Developing Balance & Control • Single Stroke Fills•
Basic 8th & 16th Note Patterns• Note Value Exercises•
Bass Drum Triplets• The Herta Lick •Foot Assignment •
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Mod
7
The Element Of Groove
Playing a stream of alternating single strokes with the double pedal without theinvolvement of any dynamics whatsoever can be a little overkill if you’re not playing
in a heavy or death metal band. However, some drummers still like/need to use the
double bass pedal for playing small bursts of single strokes or the odd run in music
with a little more groove to it. In this lesson, Sean Lang explains on how to create
groove and add dynamics to your double bass playing through groovy hand patterns
and accents on the bass drum.
This lesson is awesome even for those who don’t play heavier styles of rock music.
You see, there are a lot of fast drummers out there, but not that many who know how
to add dynamics and groove to their double bass playing. Learning these conceptswill give you a big advantage over them.
1)
2)
3)
4)
100 0413
100 0423
100 0433
100 0443
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
>
>
>
>
>
>
>
> >
>
>
>
>
>
6)
7)
8)
9)
5)
7
The Element Of Groove (continued)
6)
100 0453
100 0463
100 047
3
100 0483
100 0493
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Mod
7
1)
2)
3)
4)
5)
Developing Balance & Control
Playing a constant stream of single strokes requires a lot of control and balance.
You need to have enough control to play every note at exactly the same dynamic
level while playing different rhythms with the hands. Developing good balance while
performing those rolls is essential for keeping everything consistent. In this lesson,
Sean Lang teaches you his method for working on control and balance, while devel-
oping your weaker foot and independence at the same time.
120 0503
120 0513
120 0523
120 0533
120 0543
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
7
Developing Balance & Control (continued)
6)
7)
8)
9)
10)
11)
12)
120 0553
120 0563
120 0573
120 0583
120 0593
120 0603
120 0613
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Mod
7
Basic 8th & 16th Note Patterns
This lesson is a very good place to start if you’re fairly new to double bass drum-ming. The eight exercises provided are very basic and will get you used to playing
drum beats that incorporate double bass. If you don’t have a double bass pedal or
two bass drums, practice these beats with the hi-hat pedal as the slave pedal in-
stead.
1) 2)
3) 4)
5) 6)
7) 8)
100 0623
100 0643
100 0663
100 0633
100 0653
100 0673
100 0683 100 0693
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
7
Bass Drum Triplets
In this lesson Sean teaches thirteen triplet based double bass grooves. The exer-
cises featured in this lesson are not only essential for getting you started with double
bass triplets, but to get you mixing triplets with other note values as well. The exer-
cises featured here are also great for challenging the most advanced of drummers.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
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3
3
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1)
2)
3)
4)
5)
6)
100 0703
100 0713
100 0723
100 0733
100 0743
100 0753
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
7
Foot Assignment
Foot assignment is a very interesting concept for playing broken double bass drumpatterns, especially when performed with 16th notes. The concept revolves around
the idea of having the lead foot perform the 8th notes (on the “and’s” and on the
beats), while the weaker foot plays the 16th notes (the “e’s” and the “ah’s”). In this
lesson, Sean Lang introduces this concept with seven drum beats, and shows you
how you can develop it while improvising over broken double bass patterns.
1) 2)
3) 4)
5) 6)
7)
100140
0830843
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100140
0930943
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Mod
7
Single Stroke Beats
This lesson is a great resource for enriching your double bass rhythmic vocabulary.The sixteen exercises you’ll nd here contain various note values, different broken
patterns, and a wealth of mixed patterns that will have you moving from note value to
note value with ease. You’ll have a ton of fun with this lesson, while improving your
double bass’ speed, power, and control.
1)
2)
3)
4)
5)
120 0973
120 0983
120 0993
100 1003
100 1013
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
Single Stroke Beats (continued)
3
6)
8)
9)
10)
7
7)
100 1023
120 1033
120 104
3
120 1053
120 1063
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Mod
7
3
3
3
3
3
3
3
11)
12)
13)
14)
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120 1073
120 1083
120 1093
120 1103
120 1113
120 1123
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
7
Single Stroke Fills
In this lesson, Sean Lang shows you how to add double bass to drum lls with seven
examples. He also gives you some tips on how to come up with new ones from the
existing patterns. Adding double bass strokes to your drum lls is a great way of
spicing them up. Players who only have a single bass drum pedal can use the hi-
hat pedal as the slave pedal in these lls. This creates very interesting textures and
some funky sounding lls as well.
1)
2)
3)
100140
1131143
100140
1151163
100140
1171183
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Mod
7
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3 3 3 3 3 3 3 3
4)
5)
6)
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100140
1191203
100140
1211223
100140
1231243
100140
1251263
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
7
Note Value Exercises
As you may be well aware of, in music, it’s very common to use different note values
in a single piece of music. Therefore, it’s important to have a solid understanding of
how to move between different note values with ease and condence. This adds a
lot to your musical skills and will give your beat writing abilities a more diverse ap-
proach. In this lesson, Sean Lang teaches you seven exercises that you can use to
develop a better feel when playing different note values between two pedals, and for
getting used to awless transitions between the note values.
3 3 3 3
3 3 3 3
1)
2)
3)
100 1273
100 1283
100 1293
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Mod
7
3 3 3 3
3 3 3 3
3 3
6)
7)
4)
5)
100 1303
080 1313
080 1323
080 1333
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DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)
Module
7
The Herta Lick
A herta is a hybrid rudiment that usually combines 16th notes with 32nd notes playedas single strokes. You can also play a combination of 8th notes with 16th notes, and
even of 8th note triplets with 16th note triplets. If you play double bass you’re going
to love what this rudiment will do for your patterns. In this lesson, Sean Lang teaches
you how to play seven exercises that incorporate herta’s.
If you only play a single bass drum pedal, start by performing the exercises as writ-
ten using the hi-hat pedal instead of the slave bass drum pedal. This is a great drill
for working on the coordination between the feet and to get them used to playing
herta’s, as well as a great way of coming up with funky patterns that encompass a
lot of open hi-hats. Another cool thing you can do is play all the slave drum pedal
strokes with a hand on the hi-hat or ride. This completely changes the overall feel of
the patterns and gets you working on interesting herta patterns between the hands
and foot. These are just some quick tips to get you going.
1)
2)
3)
080 1343
160200
1351363
080200
1371383
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Mod
7
4)
5)
6)
7)
080120
1391403
080120
1411423
140180
1431443
140240
1451463
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Module
8
DVD #5
Module #8 - Double Pedal Single Strokes (Dave
Module #7 featured Sean Lang’s perspective and exercises for developing singlestrokes with the double pedal. In this module Dave Atkinson will further dive into single
strokes on the double pedal. The more perspectives we have about a single subject the
better we will be at developing it, since we can approach it in so many different ways
while learning a ton of different concepts at the same time.
Lessons Include:
Introduction• How To Develop Endurance•
Double Bass Warm Ups• The Swivel Technique•
Developing The Weaker Foot • Practicing Along To Music •
Double Bass Slide Triplet • Hand & Foot Independence•
Developing Slow Speeds• Ending With Odd Numbers•
Developing Speed With Singles•
Introduction
In this video, Dave introduces some of the subjects covered in this module and talks a
little bit about the technique he uses for playing double pedal.
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
Double Bass Warm Ups
Playing drums is a very physical activity. Just like in any sport, it is very importantyou warm-up thoroughly before playing. This will help you avoid injuries and make
your playing that much more relaxed, fast, and controlled. In this video lesson, Dave
Atkinson teaches ve cool warm-ups designed for your feet. Even if you don’t have
a double bass pedal or two bass drums, you can still use these exercises with your
hi-hat pedal and single pedal.
3
3
3
3
3
3
3
3
3
3
3
3
1)
2)
3)
4)
5)
120 1473
120 1483
090 1493
200 1503
100 1513
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Module
8
Developing The Weaker Foot
You have to develop your feet equally if you want to be a double bass drummer. Thisis not only a question of speed, but of control and consistency. You won’t be able
to play consistently and in time if you don’t develop your weaker foot. As for speed,
you’re only as fast as your weaker foot. In this lesson, Dave Atkinson teaches you
some very cool ways of developing single and double strokes with your weaker. He
also shares some valuable tips that will have you playing with your weaker foot as
well as you do with your stronger one.
3
3
3
3
1) 2)
3) 4)
5) 6)
7) 8)
`
100 1523
100 1543
100 1563
130 1583
080 1533
100 1553
130 1573
095 1593
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
Double Bass Slide Triplet
The double bass slide triplet foot technique is used to play fast triple strokes by com-bining a double pedal with the slide technique. You can still learn how to develop this
technique if you use the heel-toe technique instead; or any other technique to play
fast double strokes with one foot for that matter. In this lesson, Dave teaches you
eight exercises that will help you develop this technique.
3
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1) 2)
3) 4)
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160 1603
120 1623
110 1643
120 1663
150 1613
120 1633
110 1653
120 1673
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Module
8
Developing Slow Speeds
Many double bass drummers focus on playing fast. However, playing slow is a veryimportant ability to have since it enables you to perform double bass runs with more
precision and control when at faster tempos. Practicing at slow tempos will greatly
improve your double pedal chops at faster tempos. In this lesson, Dave Atkinson
teaches you how and why to practice double bass at slower tempos, giving you
seven exercises to work with.
1) 2)
3) 4)
5) 6)
7)
100 1683
200 170
3
090 1723
180 1743
180 1693
200 171
3
200 1733
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Module
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
6)
7)
5)
4)
8
Developing Speed With Singles (continued)
5)
100 1783
100 1793
090 1803
170 1813
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
How To Develop Endurance
Developing endurance is a little bit different from developing speed. With speedbuilding you focus more on playing quick bursts for short periods of time, while
with endurance your main focus is playing for long periods of time. In this lesson,
Dave gives you important tips on how to develop endurance and on how to use the
progress chart (page 82) to track down your progress as you work on building your
endurance.
Working on endurance is not something exclusive to single stroke rolls played with
the double pedal. You can use the concepts discussed by Dave in this lesson, as
well as the progress chart for developing your heel-toe/slide double stroke rolls, or
any other exercises or techniques featured in this educational system.
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Module
8
Progress Chart
Double Bass Speed Progress Double Bass Endurance Progress
(Date) (Date)(Tempo) (Tempo)(Time) (Time)
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
Progress Chart
Double Bass Speed Progress Double Bass Endurance Progress
(Date) (Date)(Tempo) (Tempo)(Time) (Time)
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Module
8
Progress Chart
Double Bass Speed Progress Double Bass Endurance Progress
(Date) (Date)(Tempo) (Tempo)(Time) (Time)
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
Progress Chart
Double Bass Speed Progress Double Bass Endurance Progress
(Date) (Date)(Tempo) (Tempo)(Time) (Time)
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
Hand & Foot Independence
Playing a constant stream of single strokes with the feet while keeping the samestyle of rock based hand patterns above it can become monotonous with time. Gain-
ing a good level of independence while performing rolls with the feet is a great way
of loosening up your hands for coming up with interesting drum beats and lls. In
this lesson, Dave teaches you a couple of exercises that incorporate drum rudiments
that will get you working on your hand independence while performing a constant roll
with the feet.
The rudiments featured in this lesson are the single stroke roll, the single paradiddle,
the double stroke roll, the herta, the triple stroke roll, the double paradiddle, and the
am accent. Once you’ve mastered the exercises as written, try incorporating other
rudiments with the hands. Playing rudiments on top of an 8th note triplet or 16th notesingle stroke roll with the feet is not only a great way of working on independence
but on hand technique as well. This way, you can practice drum rudiments and
double bass drumming at the same time.
R
L
R
R
L
R
L
L
R
L
R
R
L
R
L
L
1)
2)
3)
180 1823
170 1833
150 1843
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Module
8
Hand & Foot Independence (continued)
R
R
L
R
L
L
R
L
R
R
L
R R
L
L L
3
R
R
R
3
L
L
3
L R
R
R3
L
L
L
3
R
L
R3
L
R
R3
L
R
L
3
R
L
L
3
R
L
R
3
L
R
R
3
L
R
L
3
R
L
L
6)
7)
8)
4)
5)
150 1853
125 1863
170 187
3
170 1883
160 1893
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DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)
Mod
8
Ending With Odd Numbers
Most people are used to playing even numbered double pedal patterns. With this
lesson you’ll learn how play odd numbered feet patterns, as well as to play the bassdrum with the weaker foot in unison with a crash hit.
3
3
3
3
3
3
3
1)
2)
3)
4)
5)
6)
120 1903
120 1913
120 1923
180 1933
175 1943
165 1953
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Module
9
DVD #6
Module #9 - Double Pedal Double Strokes
Next, you get to learn how to play double pedal double strokes with Jared Falk. If you’re
one of those drummers that thinks learning how to play double stroke rolls on the double
pedal is pointless, then you’ve got to check out this module. This really is something that
can take your drumming to the next level and give you an edge over other drummers at
the same time. By combining the tips and tricks from all three drummers, you’ll have an
opportunity to create your own unique drumming style.
In this module Jared utilizes the heel toe technique. If your still having issues with this
technique you can always reference back to module #3 and #4 for more information on
it. You can also check out module #18 for a video of Jared playing the heel toe tech-
nique in slow motion.
Lessons Include:
Basic 16th Note Patterns•
16th Note Triplets With Doubles•
Herta’s With Double Strokes•
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DVD #6 | Module #9 - Double Pedal Double Strokes
Mod
91)
2)
3)
4)
Basic 16th Note Patterns
In this lesson, Jared Falk explains why playing double stroke rolls with the feet isimportant. You’ll also get access to ten exercises that are sure to put you on the fast
track to mastering double stroke rolls with the feet. The material and tips here can be
used by any drummer, regardless of the technique used for playing double strokes.
If you don’t know how to play double stroke rolls with the feet, we hope this lesson
motivates you to learn how to. In the Bass Drum Secrets, Dave Atkinson teaches the
slide technique, Jared Falk the heel-toe technique, and Sean Lang a hybrid between
the slide technique and the swivel technique. Any one of those techniques can be
used for playing double stroke rolls with the feet. Once you’ve mastered your tech-
nique of choice, use these exercises to develop the double stroke roll.
Let’s start by developing the double stroke roll using only the feet.
Next, let’s add in the hands playing along with the feet using a double stroke roll.
Complete the beat by adding the snare on 2 & 4.
Now add the dominant hand on the ride.
120180
1961973
120180
1981993
120180
2002013
120180
2022033
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DVD #6 | Module #9 - Double Pedal Double Strokes
Module
9
Basic 16th Note Patterns (continued)
6)
7)
8)
9)
10)
5)
For an additional challenge, and to further develop the roll you can use the following
patterns to play over top of the 16th note double stroke roll bass drum ostinato.
120 2043
120 2053
120 2063
120 2073
120 2083
120 2093
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DVD #6 | Module #9 - Double Pedal Double Strokes
Mod
9
16th Note Triplets With Doubles
In this lesson, Jared teaches you how to play 16th note triplet double strokes on thebass drum while playing a regular 8th note groove with the hands. As you can see
by looking at the exercises, this can be challenging as the hi-hat stroke on the ‘&’
lines up with the 2nd double stroke on the left foot. These exercises have been writ-
ten to be progressive. To develop this correctly, please go through the exercises in
the order they are written.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1)
2)
3)
4)
5)
080 210
3
080 2113
080 2123
080 2133
080 2143
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DVD #6 | Module #9 - Double Pedal Double Strokes
Module
9
Herta’s With Double Strokes
In this lesson, Jared Falk teaches you how to play ten exercises that incorporatedouble stroke “herta’s”. A herta is a hybrid rudiment that combines 16th notes with
32nd notes played as single strokes. You can change the “sticking” of this pattern
and use double strokes to play the 32nd notes instead. If you play double bass
you’re going to love this lesson.
1)
2)
3)
4)
070100
2152163
070
100
217
2183
070100
2192203
070100
2212223
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Mod
9
6)
7)
8)
9)
10)
5)
070100
2232243
070
100
225
2263
070100
2272283
070100
2292303
070100
2312323
070100
2332343
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DVD #6 | Module #10 - Broken Double Bass Beats
Module
10
Module #10 - Broken Double Bass Beats
Module #10 features Sean Langteaching broken double bass
beats. These patterns are power-
ful for creating tight grooves with
some double bass air. You can
start by learning these example
patterns, then when you feel
comfortable with the concepts,
you can start creating your own
original patterns to spice things
up and boost your creativity on
the drums.
Broken patterns are harder to
play because you’ll need to stop
and start short bursts of single
strokes rolls. This may cause
some consistency and timing
issues. To work around that,
make sure you start practicing
these exercises at slower tem-
pos. Make sure everything linesup perfectly and that you’re not
playing ammed strokes. This is
essential for making these beats
sound awesome at faster tem-
pos.
If you only play a single bass pedal, you’re
still a double pedal drummer because of the
hi-hat pedal. These grooves are a great op-
portunity to give more use to that pedal and
add very cool little nuances to your double
pedal grooves. The rst thing you can do isreplace the slave bass drum strokes notat-
ed on the sheet music with the hi-hat pedal.
This way, you’ll create some very cool and
original 16th note hi-hat patterns between
the hands and the weaker foot that will add
a lot of groove to your drum beats.
Lessons Include:
Beginner Beats•
Intermediate Beats•
Advanced Beats•
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DVD #6 | Module #10 - Broken Double Bass Beats
Module
7)
8)
9)
10)
11)
6)
Beginner Beats (continued)
10
8)
100140
0110124
100140
0130144
100140
0150164
100140
0170184
100140 0190204
100140
0210224
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DVD #6 | Module #10 - Broken Double Bass Beats
Mod
10
Intermediate Beats
Once you’re able to play the beginner broken double bass exercises accuratelyand consistently at various tempos, you can move on to this lesson to start learning
intermediate beats. The examples presented here are a little more challenging and
include 16th and 32nd note double bass patterns, and some interesting combina-
tions between 8th note triplets on the feet and 8th notes on the hands.
1)
2)
3)
4)
5)
070100
0230244
070100
0250264
070100
0270284
010100
0290304
070100
0310324
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DVD #6 | Module #10 - Broken Double Bass Beats
Module
10
Intermediate Beats (continued)
3
3
3
3
3
3
6)
7)
8)
9)
10)
070100
0330344
070100
0350364
070100
0370384
070100
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070100
0410424
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DVD #6 | Module #10 - Broken Double Bass Beats
Module
3 3 3 3
3 3 3
3 3
3 3
3 3
7)
8)
9)
10)
11)
6)
Advanced Beats (continued)
10
8)
070100
0530544
070100
0550564
070100
0570584
070100
0590604
070100
0610624
070100
0630644
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Mod
11
DVD #6
Module #11 - Double Bass Exercises
Module #11 covers some awesome double
bass exercises that you can incorporate inyour drumming immediately. Dave Atkinson
walks you through beginner, intermediate,
and advanced double bass beats and lls. If
you have been working through the modules,
then this is a great place to put some of those
new techniques to work and really start hav-
ing some fun applying everything you have
learned.
If you’re having any problems with the ex-
ercises here, check out module #7 and #8.
They are packed with great tips and exer-
cises for developing your feet, and some very
cool techniques that are sure to revolutionize
the way you approach your bass drum and
hi-hat pedals.
Lessons Include:
Beginner Beats•
Beginner Fills•
Intermediate Beats•
Intermediate Fills•
Advanced Beats•
Advanced Fills•
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DVD #6 | Module #11 - Double Bass Exercises
Module
11
Beginner Beats
Most of what is played with the double bass on modern music is based on single
stroke rolls. It’s important you learn how to develop independence between basic
hand patterns and the feet, and very solid and consistent single stroke rolls from the
get go. We take the rst steps into doing so with the ten beginner drum beats written
by Dave Atkinson for this lesson
1)
2)
3)
4)
185 0654
185 0664
185 0674
170 0684
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Mod
11
3
3
3
3
3
3
3
3
3
3
6)
7)
8)
9)
10)
5)
160 0694
120 0704
105 0714
115 0724
125 0734
145 0744
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DVD #6 | Module #11 - Double Bass Exercises
Module
11
Beginner Fills
Adding the bass drum to drum lls is a great way for spicing up your playing. In thislesson, Dave Atkinson takes you through ten drum lls that incorporate a lot of the
basic techniques used for adding the bass drum into drum lls, like hand to feet com -
binations, playing three-note 16th note triplets just before a snare shot, and adding
cool little nuances with cymbals while playing double bass runs.
You can still gain a lot from these drum lls if you’re a more experienced drummer.
Use them as inspiration for coming up with new drum lls of your own, or play them
at higher speeds for even more of a challenge. Patterns #6 and #7 are great for
practicing the double bass slide triplet technique.
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120 0754
130 0764
130 0774
125 0784
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Mod
11
œ
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6)
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140 0794
115 0804
120 0814
120 0824
135 0834
120 0844
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DVD #6 | Module #11 - Double Bass Exercises
Module
11
Intermediate Beats
This lesson mixes things up a bit by having you play drum beats that feature differ-ent note values. You’ll also get to learn how to play a 16th note triplet double bass/
tom beat based on the double paradiddle, and the main pattern for the song “Hot For
Teacher” by Van Halen.
The exercises included in this lesson require a certain degree of independence
between your hands and feet, and having the ability to transition smoothly between
different note values using the feet.
3
3
1)
2)
3)
4)
120 0854
110 0864
120 0874
120 0884
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Mod
11
3
‰
3
‰
3
‰
3
‰
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
6)
7)
8)
9)
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5)
200 0894
120 0904
130 0914
180 0924
180 0934
120 0944
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Intermediate FillsDVD #6 | Module #11 - Double Bass Exercises
Module
11
Things get a little trickier with these intermediate double bass drum lls. The ex-
ercises in this lesson feature a heavy dose of hand to feet combinations featuring
note values such as 32nd notes, 16th note triplets, 16th notes, and 8th notes. Dave
throws you his very rst curve ball here by having you play your rst hand to feet
combo where the leading hand changes. Prepare to be challenged.
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130 0954
140 0964
155 0974
105 0984
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Mod
11
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120 1044
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DVD #6 | Module #11 - Double Bass Exercises
Module
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1)
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4)
11
Advanced Beats
In this lesson, Dave Atkinson takes you through ten advanced drum beats that aresure to take your drumming to a whole new level. Once you’re nished with this les -
son, you’ll be able to play in 7/8 and 7/4 time signatures and have a ton of new 32nd
note beats under your belt as well.
2)
095 105
4
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090 1074
115 1084
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Mod
11
3
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DVD #6 | Module #11 - Double Bass Exercises
Module
11
Advanced Fills
In this lesson, Dave goes all over the place with a lot of 16th note triplet and 32nd
note drum lls. He incorporates the cymbals in a lot of these lls, as well as drum
rudiments like the double paradiddle, the am tap and the am. Make sure you’re
pretty competent in playing the beginner and intermediate drum lls before you take
on these ones.
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Mod
11
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Module
12
DVD #7
Module #12 - Metal & Blast Beats
Welcome to the “Metal & Blast Beats” portion of the Bass Drum Secrets 2.0. Thismodule is totally dedicated to the world of blast beats, and includes tips on develop-
ing the weaker foot and adding groove to blast beats. If you’re not into this style of
music or drumming, you might feel discouraged to learn the content in these les-
sons. However, the exercises here are great for developing speed, coordination,
balance, and single stroke rolls with both hands and feet. These are all things that
you as a drummer have to strive for, no matter the styles of music you enjoy or the
number of pedals you like to use. Give this module a try, you won’t be disappointed.
One Foot vs. Two Feet
A blast beat is basically a single stroke roll broken up between the snare drum and the
bass drum, with the hi-hat/ride hand playing unison strokes with the bass drum. Thebass drum gures are usually counted as 8th or as 16th notes, while the hands are
counted as 16th or 32nd notes. Since the bass drum notes are slower than the ones on
the hands, you can use a single foot to play them. However, some drummers tend to
use two feet instead. In this lesson, Sean Lang addresses this subject by explaining the
pros and cons of using one foot verses two feet while performing blast beats.
Introduction
In this video, Sean introduces some of the subjects covered in this module and talks
about how they can benet you even if your not a metal drummer.
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DVD #7 | Module #12 - Metal & Blast Beats
Mod
12
Skank Blast
Skank beats are slower versions of traditional blast beats. They were being playedin the United States and in Europe just before blast beats were rst invented. You
can think of skank beats as punk beats or as fast and heavy polkas as well. In this
lesson, Sean Lang takes you through some of the more traditional ways of playing
skank beats with 8th notes, 16th notes and 8th note triplets.
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3
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DVD #7 | Module #12 - Metal & Blast Beats
Module
12
Hammer Blast
Hammer blasts were actually invented by drummers who, being new to the world ofblast beats, couldn’t achieve the speeds and coordination required to play traditional
blast beats. If you’re a beginner, taking on this lesson is a great way of learning your
rst blast beats, or to add a very different feel to your blast beats if you’re a more
experienced drummer. In the video, Sean Lang teaches four of the most common
hammer blasts found in heavy metal music, as well as a couple of cool variations
that show you how to add groove to your hammer blasts.
Most exercises in this lesson have the stronger foot playing 8th notes. Once you’ve
mastered them, use the exercises here to work on your weaker foot. Start by playing
the patterns with your weaker foot. This will strengthen that foot greatly and will have
you working on coordinating the left and right limbs of your body. Finally, break the
foot pattern between your feet for practicing some double bass hammer blasts while
leading with your stronger foot as well as your weaker foot.
1) 2)
3) 4)
5) 6)
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DVD #7 | Module #12 - Metal & Blast Beats
Mod
12
Bomb Blast
The Bomb blast is another very cool variation on the traditional form of blasting. Youcan think of it as an inverted traditional blast beat played with a double pedal. The
cymbal pattern is played on the “e’s” and the “ah’s” instead of on the beat and on the
“and’s”. In this lesson, Sean Lang shows you how to play the traditional bomb blast
drum beat and a couple of variations that include different cymbal and snare drum
patterns.
1)
2)
3)
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DVD #7 | Module #12 - Metal & Blast Beats
Module
12
Gravity Blast
The gravity blast was the last form of blast beat to be created in the world of extrememetal drumming. This blast beat includes the use of a hand technique known as the
one handed roll (also known as the freehand technique), which was rst introduced
to the drumming community by Kenwood Dennard, and made popular by Johnny
Rabb. In this lesson, Sean Lang teaches you how to perform the one handed roll
and how to use it within blast beats.
The one handed roll is a technique that lets you play a very fast single stroke roll
with only one hand. This is achieved by using the rim of the snare as a pivoting point
for pushing and pulling the stick against it with an up and down motion of the arm.
The down stroke of the freehand technique is notated on the middle line of the sheet
music. The up stroke is notated on the space just above that line. If you are strug-gling with the one handed roll, check out the slow motion footage of Jared Falk and
Sean Lang executing it in module #18
1)
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DVD #7 | Module #12 - Metal & Blast Beats
Mod
12
Traditional Blast
The traditional blast was the rst type of blast beat to be created. It originated in theEuropean punk and hard-core movements as a way to create a wall of noise with no
rhythmic value whatsoever. Death metal bands from the ’90s were the ones respon-
sible for shaping it to its current form by giving it rhythmic value. A blast beat is basi-
cally a single stroke roll broken up between the snare drum and the bass drum, with
the hi-hat/ride hand playing unison strokes with the bass drum. In this lesson, Sean
Lang teaches you how to play the traditional blast and how to use it with music.
Beat #1 is the traditional blast while beat #2 is a variation on the traditional blast.
Once you’ve mastered these two exercises, take the hi-hat patterns from the other
blast beat lessons on this module and use them here instead. This is a great way for
coming up with new traditional blast variations. Another cool option is to play the 8thnote foot pattern with a double pedal instead. This will be essential once you get to
extremely high speeds. The exercises here are also great options for improving your
weaker foot independence, stamina, power and control.
1)
2)
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DVD #7 | Module #12 - Metal & Blast Beats
Module
12
Hybrid Hammer Blast
Hybrid hammer blasts are a very visual and economic way of playing hammer blasts.
This type of blast beat was actually invented by Sean Lang and uses the Swiss army
triplet the am tap drum rudiments. In this lesson, Sean Lang teaches you how to
play hybrid hammer blasts beats and how to combine them to create odd-time signa-
ture blast beats.
With these blast beats you won’t overwork any hand in particular, because you’ll be
spreading the amount of strokes between the two of them. This way, it will be easier
for you to perform drum lls around the drums after blasting throughout songs. This
is also a great way for beginner or slower drummers to get into blasting. Rememberthat the am tap hammer blast (beat #1) and the Swiss army triplet hammer blast
(beat #2) should be played without the ams. Practice these exercises slowly at rst
making sure you play unison strokes – known as at ams or double stops – instead
of ams, before you start increasing the tempo on your metronome.
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Module
13
DVD #7
Module #13 - Rudiments With The Feet
Playing rudiments with the feet is a mas-sively under-rated concept of bass drum-
ming. A lot of drummers assume that
rudiments are only for the hands, but
this module opens up new possibilities
by utilizing the rudiments with your feet.
Jared Falk takes you through playing 5, 6,
7, 9, and 11 stroke rolls, as well as playing
swiss army triplets all with your feet. With
this module you can create thousands of
new drum beats and lls, all by using the
rudiments with your feet.
Lessons Include:
Five Stroke Rolls•
Six Stroke Rolls•
Seven Stroke Rolls•
Nine Stroke Rolls•
Eleven Stroke Rolls•
Swiss Army Triplets•
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DVD #7 | Module #13 - Rudiments With The Feet
Mod
13
Five Stroke Rolls
The 5 stroke roll combines two double strokes with one single stroke. In this lesson,Jared Falk teaches you how to practice the 5 stroke roll with both feet leading, and
how to apply it to 32nd note and 16th note triplet drum beats. Jared uses the heel-
toe technique to play double stroke based rudiments, but you can which ever tech-
nique you’re most comfortable with.
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DVD #7 | Module #13 - Rudiments With The Feet
Module
13
Six Stroke Rolls
In this lesson, Jared Falk teaches you how to practice the 6 stroke roll by itself withthe feet and how to apply it to 16th note and 32nd note drum beats. Once you’ve
mastered the exercises here, experiment adding different hand patterns while keep-
ing the same 6 stroke roll foot patterns. Using this rudiment in solos is a great idea
as well. For further inspiration, check out the solo section of Module #20 to watch
how Jared uses this rudiment with the feet as a cool ostinato pattern for soloing.
1) 2)
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7) 8)
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DVD #7 | Module #13 - Rudiments With The Feet
Mod
13
Seven Stroke Rolls
The 7 stroke roll combines three double strokes with one single stroke. In this les-son, Jared Falk teaches you how to practice the 7 stroke roll by itself with the feet
and how to apply it to 16th note, 16th note triplets and 32nd note drum beats. You
can also break the 7 stroke rolls between the bass drum and the hi-hat pedal as well,
creating totally different sounding drum beats in the process.
3
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DVD #7 | Module #13 - Rudiments With The Feet
Module
13
3
3
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3
3
3
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3
3
3
3
1) 2)
3)
4) 5)
6) 7)
Nine Stroke Rolls
In this lesson, Jared Falk teaches you how to practice the 9 stroke roll by itself withthe feet and how to apply it to 16th note, 16th note triplets and 32nd note drum
beats. Jared uses the heel-toe technique to play double stroke based rudiments, but
you can use other techniques as well.
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DVD #7 | Module #13 - Rudiments With The Feet
Mod
13
Eleven Stroke Rolls
This is the last drum roll rudiment Jared teaches you how to apply to your feet. How-ever, you now have the tools needed to apply other drum roll rudiments to your feet.
You can use these exercises as inspiration for coming up with patterns that include
the 10, the 13, the 15 and the 17 stroke rolls.
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Mod
14
DVD #7
Module #14 - Hand To Feet Combinations
This module is one of the coolest modules within the Bass Drum Secrets 2.0 pack.
Here, Jared, Dave and Sean all give their take on unique hand to feet combinations.By the end of this module you will be able to create your own hand to feet combina-
tions for use within beats, lls, and creative drum solos! This module will open new
doors for your drumming and expand your creativity when you sit down at the kit.
Jared Falk’s Hand To Feet Combinations
Hand to feet combinations are basically linear patterns used as drum lls. Linear pat-terns are played without overlapping strokes, so you don’t play unison gures during thepatterns. In this lesson, Jared Falk teaches you his method for coming up with hand to
feet combinations, making it easy to start creating your own patterns right away.
Once you’ve written a pattern, practiceit between the snare and the bass drumas Jared does in the video. The biggestproblem you’ll nd when playing thesepatterns is playing the notes on time.The solution for this issue is to startpracticing them very slowly. Increasethe tempo on your metronome once youhave the pattern down and eventually
you’ll want to start moving your handsaround the various drums and cymbalsinstead of keeping them on the snaredrum all the time.
There are other cool ways for you tomix things up a bit. You can alter thedynamics of some of the strokes, addrests instead of playing a continuousstream of notes, use the hi-hat pedalinstead of the slave bass drum pedal
for playing double pedal hand to feetcombos, and even use these patternsfor coming up with linear drum beats bymoving one hand to the hi-hat/ride whilekeeping the other one on the snare.
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Mod
14
DVD #7 | Module #14 - Hand To Feet Combinations
Dave’s Hand To Feet Combinations
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Module
14
DVD #7 | Module #14 - Hand To Feet Combinations
Sean’s Hand To Feet Combinations
In the last lesson of this module, we’ll be taking a look at Sean’s hand to feet com-
bos. The patterns he teaches here are mostly played as 16th notes, 16th note trip-lets, and 32nd notes. These patterns are great for heavier styles of music.
You’ll notice that throughout the exercises, Sean adds small things that make a big
difference in the overall feel and sound of these patterns. He uses rudiments like the
single paradiddle-diddle, the herta, and the am for sticking pattern diversity and for
getting different textures out of his drum set. He uses dynamics on the snare drum,
incorporates cymbals, and mixes the note values as well. These are all great ways
for spicing up your hand to feet combos.
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Module
14
DVD #7 | Module #14 - Hand To Feet Combinations
Sean’s Hand To Feet Combinations
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Mod
15
Okay, you made it! We are at the rst play-along module of the Bass Drum Secrets.
Here you get to use all your new found bass drum techniques, beats, lls, concepts,ideas, and creativity to use. This module features Dave Atkinson’s band as well as
a ton of cool jam tracks that you can download and take back to your drum kit. So,
have some fun and remember to mix things up with the new techniques you have
been developing!
Song CD Track BPM
YUCA - “Gold In Your Soul” 7-8 8 107
YUCA - “Skin & Bones” 7-8 9 173
Sonus - “2-19” 7-8 4 148Half Time Rock 5-6 1 80
Fast Rock 5-6 2 165
Heavy Metal 5-6 4 160
Shufe Rock 5-6 7 160
Straight Rock 5-6 10 80
Punk 5-6 13 160
Drum & Bass 5-6 16 160
Module #15 - Drum Play Alongs - DaveDVD #8
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Module
18
Module #18 features all of the slow motion footage from Bass Drum Secrets com-
piled for easy viewing. The module includes slow motion footage for the slide tech-
nique, double pedal slide technique, swivel technique, heel-toe technique, double
stroke herta’s, feathering the bass drum, swiss army triplets, one handed roll, break
beat, gravity blast, double pedal single strokes and much more. This footage shows
you exactly how each of these techniques are played in slow motion.
Slide Technique
The slide technique is used to play fast
double strokes with what looks like to be
one single motion. However, as you must
have learned by now, the slide technique
incorporates two different motions that
are performed at a high level of speed.
Here, the slide technique is broken down
for you with slow motion video.
Double Pedal Slide Triplet
The double pedal slide triplet technique
is used to play fast triple strokes by
combining a double pedal with the slide
technique. Here, this technique is broken
down for you with slow motion video.
Swivel Technique
The swivel technique is used to play fast
single strokes with either a double or
single bass drum pedal by pivoting the feet with the toes on the pedals, while moving
the heels from side to side. Here, this technique is broken down for you with slow mo-
tion video.
Module #18 - Slow MotionDVD #11
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Module
18
Heel-Toe Double Stroke Roll
The heel-toe technique can be used to play very fast double stroke rolls with your feet.
This slow motion video is a great tool for helping you understand exactly what is going
on with Jared’s feet as he’s performing a double stroke roll with the heel-toe technique.
Heel-Toe Triple Stroke
The heel-toe technique can be used to play triple strokes. Here, this technique is broken
down for you with slow motion video.
Heel-Toe Hi-Hat
Splash
The heel-toe technique
is mostly used on the
bass drum but it can
be applied to which-
ever pedal you’d like.
When used with the
hi-hat pedal, the heel
stroke generates a hi-
hat splash and the toe
stroke closes the hi-hat,
which is also known as
hi-hat “chick”.
Heel-Toe Over Multiple Pedals
You can use this technique to play each stroke of the double on different pedals. Here,
the heel-toe is played between the hi-hat pedal and the slave bass drum pedal.
Double Stroke Herta’s
A “herta” is a hybrid rudiment that combines 16th notes with 32nd notes played as single
strokes. You can change the sticking of this pattern and use double strokes to play the
32nd notes instead. This is something Jared likes to use heel-toe for.
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5 Stroke Rolls
The 5 stroke roll combines two double strokes with one single stroke.
6 Stroke Rolls
The 6 stroke roll combines two double strokes with two single stroke.
7 Stroke Rolls
The 7 stroke roll combines three
double strokes with one single
stroke.
9 Stroke Rolls
The 9 stroke roll combines four
double strokes with one single
stroke.
11 Stroke Rolls
The 11 stroke roll combines ve
double strokes with one single
stroke.
Swiss Army Triplets
The Swiss army triplet is one of
the patterns from the am fam-
ily of drum rudiments. It basi-
cally combines two offset doublestrokes. It’s this offset that cre-
ates the ammed strokes.
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One Handed Roll
The one handed roll,
also known as freehandtechnique is a great tech-
nique for playing a very
fast single stroke roll with
only one hand. This tech-
nique uses the rim of the
snare as a pivoting point
for pushing and pulling
the stick against it with
an up and down motion
of the arm.
Break Beat
Break beats are fast and
very syncopated drum
beats that can be heard
in music genres like
jungle and drum & bass.
Double PedalSingle Strokes
Single stroke rolls are the most common type of patterns played between the feet. It’s
very important you have a solid understanding on how to play them accurately. When
you get to higher speeds, you’ll naturally transition from using full leg motions to using
the at foot technique.
Single Stroke Four
The single stroke four is one of the patterns from the single stroke family of drum rudi-
ments. It’s basically played as a 16th note triplet four-note single stroke roll. This rudi-
ment is used in a lot of drum lls and drum beats that feature double bass.
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Single Stroke Herta’s
A “herta” is a hybrid rudiment that combines 16th notes with 32nd notes played as single
strokes. This is something Sean really likes to add to his double pedal single stroke pat-terns to spice them up a little bit.
Double Pedal Swivel Triplet
The double pedal swivel triplet technique is used to play fast triple strokes by combining
a double pedal with the swivel technique. Here, this technique is broken down for you
with slow motion video.
Gravity BlastThe gravity blast revolves around a great technique for playing a very fast single stroke
roll with only one hand, which is called the one handed roll or the freehand technique.
This technique uses the rim of the snare as a pivoting point for pushing and pulling the
stick against it with an up and down motion of the arm.
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Want to buy a new bass drum pedal but you’re uncertain of what’s the best option for
you? Then check the bass drum pedal reviews featured in this module. The videos
were designed to give you some ideas one what to look for when buying a single or
a double bass drum pedal, and on how to test them at your local music store. The
pedals presented here represent various price points and the three most used class-
es of pedals – chain drive, direct drive, and strap drive.
Jared, Sean and Dave are very experienced drummers and are quite knowledgeable
about drum pedals, so the tips you’ll get from them in each lesson are extremely
valuable. After you’ve listened to what they have to say, go to your local music store
and try the pedals you’re interested in. It’s okay if you enjoy something they don’t.
What works for you might not work for them, and vice-versa. It’s important that yourpedals are comfortable for you and that they are well built.
Gibraltar Intruder
Direct Drive Double
Pedal
In this video, Jared, Sean,
and Dave review the Gibraltar
Intruder direct drive double
pedal. They share some tips on
how to go about testing bass
drum pedals in a music store.
The Gibraltar Intruder is one of
the cheapest options available
in the world of direct driven
double pedals.
Module #19 - Pedal ReviewsDVD #11
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Tama Speed Cobra
Single Pedal
In this video, Jared, Sean, and
Dave review the Tama Speed
Cobra double pedal. They take
the time to compare the Tama
Speed Cobra to the Tama Iron
Cobra. The Tama Speed Cobra
is one of the fastest and power-ful double chain driven pedals in
the world today.
Axis Longboard Single Pedal
In this video, Jared, Sean, and Dave review
the Axis Longboard single pedal. They dis-
cuss the things they like the most about it, as
well as the design aws and shortcomings of
the pedal. Axis produces some of the most
expensive and high-tech products in the
world of direct driven pedals.
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Pearl Eliminator Double Pedal
In this video, Jared, Sean, and Dave re-
view the Pearl Eliminator double double
pedal with the black cams. They discuss the
things they like the most about it, as well asshortcomings of the pedal. They also share
some tips on how to go about testing bass
drum pedals in a music store. The Pearl
Eliminator is one of the most popular double
chain driven double bass pedals around.
Gibraltar 3311 Double Pedal
In this video, Jared, Sean, and Dave re-
view the Gibraltar 311 strap drive double
pedal. This is a cheap entry level pedal
designed for the beginner drummer. If
you’re looking for an inexpensive double
pedal this review will help you decide if
this is a good option for you.
Tama Iron Cobra Double Pedal
In this video, Jared, Sean, and Dave review the Tama
Iron Cobra double pedal. The Tama Iron Cobra is one
of the most popular double bass pedals on the markettoday and has been around for quite some time now.
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Yamaha Flying Dragons
Double Pedal
In this video, Jared, Sean, and
Dave review the Yamaha Fly-
ing Dragons double chain drive
double pedal. This pedal has been
discontinued by Yamaha and
replaced by a new model. None-
theless, this review will be helpful
if you’re looking on buying a used
version of this pedal.
Stomp Drive Direct Drive Iron Co-
bra Retrot
In this video, Jared Falk reviews the Stomp Drive
Direct Drive Retrot for the Tama Iron Cobra.
Stomp Drive is a company that specializes in
creating direct drive retrots for some of the most
popular chain driven bass drum pedals on the
market. This lets you upgrade your favorite chain
drive pedal to a direct drive pedal, which will cost
you a lot less than buying a direct drive pedal.
Pearl P900 Single Pedal
In this video, Jared, Sean, and Dave review the Pearl
P900 single chain single pedal. This is a cheap entry
level pedal designed for very shallow pockets. If you’re
looking for an inexpensive single pedal this review will
help you decide if this is a good option for you.
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Playing In Unison
Playing along with other drummers is a great way of having a good time. In this bo-
nus video, Jared, Sean and Dave play a bunch of beats and lls in unison. Much like
a drum line, they play the exact same rhythmic gures at the exact same time.
In this “bonuses” module, we have included some fun and creative behind the
scenes footage. Some of the content includes all three instructors playing in unison,plenty of drum solo footage, how to play the at-foot technique, what triggers are
and how to use them, gear talk, interviews of all the instructors, behind the scenes
footage from the making of BDS, and much more. Nothing got held back, this sec-
tion includes everything that didn’t naturally t somewhere else.
Double Pedal Boot Camp
Sean Lang’s “Double Pedal Boot Camp” is a regiment designed to increase power,
speed, and endurance of your feet. The boot camp includes a total of sixteen exer-
cises. Work through them without stopping, playing sixteen repetitions per exercise.
This is a great system for equalizing your feet, so use it even if you only have a
single bass drum pedal.
Sean plays the entire boot camp at 85 BPM, which takes him around fteen minutes
to complete. If you’re only able to play the fastest exercise at 43 BPM you’ll take
twice as long to go through it. Make sure you have a good idea of how much time of
your practice session this will eat up. This is important because you may not have
the time needed to go through the entire boot camp without stopping. For the boot
camp to work properly, you’ll want to make sure you go through all exercises without
stopping. So plan your practice sessions ahead of time, and if you have to, decrease
the number of repetitions per exercise so that you’re able to play every pattern ev-
eryday.
The hands play a standard 8th note rock hand pattern on the hi-hat and on the snaredrum throughout the whole boot camp. This is nothing fancy and serves the purpose
of having your hands do something simple while you go through different hand pat-
terns. Once you’re able to play these exercises leading with your stronger hand on
the hi-hat, try going through them while leading with your weaker hand. You can also
switch hands while you’re going through the exercises. This will do wonders for your
weaker hand.
Module #20 - BonusesDVD #12
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Double Pedal Boot Camp
1)
2)
3)
4)
5)
6)
085
085
085
085
085
085
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13)
14)
15)
16)
085
085
085
085
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Module
20
Double Strokes With One Foot
Throughout the Bass Drum Secrets modules you’ve
been taught various ways of playing fast double
strokes with your feet. Jared uses the heel-toe tech-
nique, Dave uses the slide technique, but what about
Sean? In this lesson, Sean Lang shows you how he
combines the slide technique with the swivel tech-
nique to play fast double strokes with only one foot.
This lesson has a lot of information regarding theway you approach foot technique.
Drum Solo #1
In this video, Dave Atkinson plays a drum solo based around some very cool rhythmicideas performed on the toms. This solo gains intensity by adding more and more bass
drum. This drum solo shows exactly how using the double bass can add a lot to the
overall feel of a drum solo, and really help increase the energy and interest of what
you’re creating. There is a lot of content here to inspire and entertain. You can take
some of Dave’s ideas and apply them to your own solos, or mix and match the patterns
he plays here to come up with new drum lls and drum beats.
Flat Foot Technique
The at foot technique is a hybrid between heel up and heel down techniques. It’s espe -
cially useful for playing fast strokes with your feet. In this lesson, Sean Lang goes overthe at foot technique with an in-depth analysis of its mechanics, and teaches you some
cool ways of practicing it without having to be behind a drum set.
This technique will add a lot to your drumming, whether you play single or double bass
drum pedal. The double pedal boot camp featured in this module is great for you to
practice transitions from normal strokes played at slower speeds, to the at foot tech-
nique when you get to higher tempos.
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Drum Solo #6
You can think of this drum solo as an evo-
lution of the previous one. Jared built this
solo around a foot ostinato once again.
This time around, he went with a 6 stroke
roll based ostinato played with the heel-
toe technique and broken up between
the hi-hat and the bass drum. His hands
play tribal sounding patterns that are sure
to keep your creative uids going. Give
this drum solo a try – you won’t be disap-
pointed.
Separating the feet between different
sound sources is a great way for spicingup your foot ostinato based drum solos.
Instead of keeping your feet on the same
pedals throughout the entire solo, move
them to other pedals from time to time
while keeping the same rhythmic idea go-
ing. The hand patterns played here sound
very tribal because of the triplet based ideas Jared plays around the drum set, and
because of the timbale-like snare sound he gets from turning the snare wires off.
Drum Solo #5
In this drum solo, Jared Falk introduces a very cool concept used in a lot of modern
drum soloing – ostinatos. An ostinato is a repeated rhythmic idea, which in this case is
represented by alternating 5 stroke rolls played between the feet throughout the solo.
Jared than improvises a lot of groove based ideas with the hands over the ostinato.
Watch this drum solo so you can see how playing rudiments with the feet can be some-
thing really effective.
Drum Solo #7
This last drum solo is based around another foot ostinato. This time around, Jared plays
a 7 stroke roll throughout the entire solo with the heel-toe technique. His hands play
very interesting ideas as well. He starts with some cymbals strokes and moves to tom-
tom based patterns, before going into a groove based section. Here, you’re caught off
guard with a very cool transition that sees a 4/4 groove morph into a 7/8 – very cool.
This is a very diverse and original drum solo that is sure to inspire you. Check it out!
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Drum Battle #3
The last drum battle on the Bass Drum Secrets 2.0 starts out with a very cool break
beat. It doesn’t take long for the double bass galore to take over. Sean kicks this
video into full gear with very fast and precise double bass runs. The heel-toe is felt
heavily in this solo, especially due to the high level of speed Jared is able to inject
to the battle with it. Dave takes care of business with some very punk based snaredrum work and fat broken bass drum runs.
You’ll nd great ideas here that you can use and incorporate into your drum solos,
drum beats and drum lls. The solos in this battle are played on very small drum kits
comprised of a snare drum, bass drum, and hi-hat. This is a great way for making
you work on expanding your rhythmic vocabulary to keep your solos interesting. The
next time you practice soloing use this idea to see what you can come up with.
Drum Battle #2
This next drum battle has a lot of double bass drumming going on. You’ll nd great ideas
here that you can steal and incorporate into your drum solos, drum beats and drum lls.
The solos in this battle are played on very small drum kits comprised of snare drum,
bass drum, and hi-hat. This is a great way of making any drummer work on expanding
their rhythmic vocabulary, due to the reduced number of instruments. Have fun with thisvery cool battle.
Drum Battle #1
In this video, Jared, Sean, and Dave take part in a very cool drum battle. A drum
battle is nothing more than a bunch of drummers having fun while trading solos
between them. The solos in this battle are played on very small drum kits comprisedof snare drum, bass drum, and hi-hat. You’ll nd great ideas here that you can steal
and incorporate into your drumming.
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Triggers
Triggers are primarily used to monitor the bass
drum on heavy metal music. This is especially
relevant when you’re playing at really fast tem-
pos. The bass drum sound at those types of
speed gets quieter since you have to play veryclose to the drumhead. By triggering the bass
drum you allow the strokes to cut through the
mix. In this video, Sean clears the air about
some of the most common misconceptions
regarding triggers, and shows you the sound dif-
ferences between triggered and acoustic sound-
ing bass drum strokes.
Triggers do not make you go any faster on the
drums; the only thing that can really make you
do that is a lot of practice. Triggers have be-come a staple of heavy metal music by giving
the bass drum a very recognizable punchy and
“clicky” sound. These pieces of hardware can be
used for a lot of other things and can be used
on different drums. You can add sound effects to
your drums, trigger lights, sample, you name it.
Triggers are great tools for adding different nu-
ances and layers to your music, and to your drumming.
Gear Talk
In this video, Sean Lang talks about the gear he used for the recording of the Bass
Drum Secrets 2.0. He discusses some of the aspects he likes the most about it and whyhe chose to use it in the rst place. He also gives some cool gear tips to help you out
when choosing your own.
Sean Lang Interview
In this interview, Sean touches on his drum layout, the type of pedal he prefers and
even gives a tip for drummers struggling with the bass drum. Along with this he also
answers some funny questions and shares some of the bands he has played with in the
past.
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Credits & Outtakes
If you don’t feel like practicing today, or just want to have some fun while not on sitting
behind a drum set than you’ve got to check this video out. Here you’ll nd some very
funny moments caught on tape while Jared, Sean, and Dave were recording the videos
for the Bass Drum Secrets 2.0. You can also watch this video for checking the names of
those who worked really hard to make this product a reality.
Behind The Scenes
If you’ve been working hard on your bass drumtechnique but need to take a little break, then get
your favorite drink, sit back and just relax while
you watch this video. In this behind the scenes
video, you get a chance to watch some very cool
footage lmed throughout the recording process
of the Bass Drum Secrets 2.0. Does Dave mea-
sure 6’1”? Does Jared look like a Sasquatch
when he’s sporting a beard? Guess there’s only
way to nd out.
Jared Falk Full Interview
Throughout the Bass Drum Secrets 2.0, Jared
Falk teaches you a lot of cool pedal techniques,
practice routines and cool concepts that havehelped him shape the drummer he is today, and
that will help shape the drummer you’ll be tomor-
row. In this video interview, you have the chance
to get to know a little bit more about Jared Falk –
not as a teacher or as a drummer, but as person.
Dave Atkinson Interview
Twenty minutes is all you need to learn some interesting things about Dave. He
shares some of the projects he has been working on and some personal goals within
this interview. Near the end of the video Dave gives some tips and tricks on how toachieve fast double pedal singles, and quick double strokes.
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Track List
The nal section of Bass Drum Secrets contains four MP3 CD’s and six play along
CD’s for practicing. The MP3 CD’s contain hundreds of examples per disc, which
you’ll have to rip to your computer or MP3 player in order to sort through all the
examples. These examples follow along with all the examples shown throughout the
product at variable tempos.
The MP3 CD’s track listing may look confusing at rst, but it’s laid out very simple
so you can nd which example you want to listen to quickly and with ease. From left
to right, the rst number represents the track number, the second is the module the
example is located in, and the last number is the example number.
021-02-beginner-hp2-slow-1Track Module Lesson Title Example
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CD #1 - MP3
001-02-beginner-hp1-slow-1 038-02-beginner-hp2-fast-9 075-02-beginner-hp4-slow-8002-02-beginner-hp1-fast-1 039-02-beginner-hp2-slow-10 076-02-beginner-hp4-fast-8
003-02-beginner-hp1-slow-2 040-02-beginner-hp2-fast-10 077-02-beginner-hp4-slow-9
004-02-beginner-hp1-fast-2 041-02-beginner-hp3-slow-1 078-02-beginner-hp4-fast-9
005-02-beginner-hp1-slow-3 042-02-beginner-hp3-fast-1 079-02-beginner-hp4-slow-10
006-02-beginner-hp1-fast-3 043-02-beginner-hp3-slow-2 080-02-beginner-hp4-fast-10
007-02-beginner-hp1-slow-4 044-02-beginner-hp3-fast-2 081-02-beginner-hp5-slow-1
008-02-beginner-hp1-fast-4 045-02-beginner-hp3-slow-3 082-02-beginner-hp5-fast-1
009-02-beginner-hp1-slow-5 046-02-beginner-hp3-fast-3 083-02-beginner-hp5-slow-2
010-02-beginner-hp1-fast-5 047-02-beginner-hp3-slow-4 084-02-beginner-hp5-fast-2
011-02-beginner-hp1-slow-6 048-02-beginner-hp3-fast-4 085-02-beginner-hp5-slow-3
012-02-beginner-hp1-fast-6 049-02-beginner-hp3-slow-5 086-02-beginner-hp5-fast-3013-02-beginner-hp1-slow-7 050-02-beginner-hp3-fast-5 087-02-beginner-hp5-slow-4
014-02-beginner-hp1-fast-7 051-02-beginner-hp3-slow-6 088-02-beginner-hp5-fast-4
015-02-beginner-hp1-slow-8 052-02-beginner-hp3-fast-6 089-02-beginner-hp5-slow-5
016-02-beginner-hp1-fast-8 053-02-beginner-hp3-slow-7 090-02-beginner-hp5-fast-5
017-02-beginner-hp1-slow-9 054-02-beginner-hp3-fast-7 091-02-beginner-hp5-slow-6
018-02-beginner-hp1-fast-9 055-02-beginner-hp3-slow-8 092-02-beginner-hp5-fast-6
019-02-beginner-hp1-slow-10 056-02-beginner-hp3-fast-8 093-02-beginner-hp5-slow-7
020-02-beginner-hp1-fast-10 057-02-beginner-hp3-slow-9 094-02-beginner-hp5-fast-7
021-02-beginner-hp2-slow-1 058-02-beginner-hp3-fast-9 095-02-beginner-hp5-slow-8
022-02-beginner-hp2-fast-1 059-02-beginner-hp3-slow-10 096-02-beginner-hp5-fast-8
023-02-beginner-hp2-slow-2 060-02-beginner-hp3-fast-10 097-02-beginner-hp5-slow-9024-02-beginner-hp2-fast-2 061-02-beginner-hp4-slow-1 098-02-beginner-hp5-fast-9
025-02-beginner-hp2-slow-3 062-02-beginner-hp4-fast-1 099-02-beginner-hp5-slow-10
026-02-beginner-hp2-fast-3 063-02-beginner-hp4-slow-2 100-02-beginner-hp5-fast-10
027-02-beginner-hp2-slow-4 064-02-beginner-hp4-fast-2 101-02-beginner-hp6-slow-1
028-02-beginner-hp2-fast-4 065-02-beginner-hp4-slow-3 102-02-beginner-hp6-fast-1
029-02-beginner-hp2-slow-5 066-02-beginner-hp4-fast-3 103-02-beginner-hp6-slow-2
030-02-beginner-hp2-fast-5 067-02-beginner-hp4-slow-4 104-02-beginner-hp6-fast-2
031-02-beginner-hp2-slow-6 068-02-beginner-hp4-fast-4 105-02-beginner-hp6-slow-3
032-02-beginner-hp2-fast-6 069-02-beginner-hp4-slow-5 106-02-beginner-hp6-fast-3
033-02-beginner-hp2-slow-7 070-02-beginner-hp4-fast-5 107-02-beginner-hp6-slow-4
034-02-beginner-hp2-fast-7 071-02-beginner-hp4-slow-6 108-02-beginner-hp6-fast-4
035-02-beginner-hp2-slow-8 072-02-beginner-hp4-fast-6 109-02-beginner-hp6-slow-5
036-02-beginner-hp2-fast-8 073-02-beginner-hp4-slow-7 110-02-beginner-hp6-fast-5
037-02-beginner-hp2-slow-9 074-02-beginner-hp4-fast-7 111-02-beginner-hp6-slow-6
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112-02-beginner-hp6-fast-6 155-02-intermediate-hp2-slow-8 198-02-intermediate-hp4-fast-9
113-02-beginner-hp6-slow-7 156-02-intermediate-hp2-fast-8 199-02-intermediate-hp4-slow-10
114-02-beginner-hp6-fast-7 157-02-intermediate-hp2-slow-9 200-02-intermediate-hp4-fast-10
115-02-beginner-hp6-slow-8 158-02-intermediate-hp2-fast-9 201-02-intermediate-hp5-slow-1
116-02-beginner-hp6-fast-8 159-02-intermediate-hp2-slow-10 202-02-intermediate-hp5-fast-1
117-02-beginner-hp6-slow-9 160-02-intermediate-hp2-fast-10 203-02-intermediate-hp5-slow-2
118-02-beginner-hp6-fast-9 161-02-intermediate-hp3-slow-1 204-02-intermediate-hp5-fast-2
119-02-beginner-hp6-slow-10 162-02-intermediate-hp3-fast-1 205-02-intermediate-hp5-slow-3
120--02-beginner-hp6-fast-10 163-02-intermediate-hp3-slow-2 206-02-intermediate-hp5-fast-3
121-02-intermediate-hp1-slow-1 164-02-intermediate-hp3-fast-2 207-02-intermediate-hp5-slow-4
122-02-intermediate-hp1-fast-1 165-02-intermediate-hp3-slow-3 208-02-intermediate-hp5-fast-4
123-02-intermediate-hp1-slow-2 166-02-intermediate-hp3-fast-3 209-02-intermediate-hp5-slow-5
124-02-intermediate-hp1-fast-2 167-02-intermediate-hp3-slow-4 210-02-intermediate-hp5-fast-5
125-02-intermediate-hp1-slow-3 168-02-intermediate-hp3-fast-4 211-02-intermediate-hp5-slow-6
126-02-intermediate-hp1-fast-3 169-02-intermediate-hp3-slow-5 212-02-intermediate-hp5-fast-6
127-02-intermediate-hp1-slow-4 170-02-intermediate-hp3-fast-5 213-02-intermediate-hp5-slow-7
128-02-intermediate-hp1-fast-4 171-02-intermediate-hp3-slow-6 214-02-intermediate-hp5-fast-7
129-02-intermediate-hp1-slow-5 172-02-intermediate-hp3-fast-6 215-02-intermediate-hp5-slow-8
130-02-intermediate-hp1-fast-5 173-02-intermediate-hp3-slow-7 216-02-intermediate-hp5-fast-8
131-02-intermediate-hp1-slow-6 174-02-intermediate-hp3-fast-7 217-02-intermediate-hp5-slow-9
132-02-intermediate-hp1-fast-6 175-02-intermediate-hp3-slow-8 218-02-intermediate-hp5-fast-9
133-02-intermediate-hp1-slow-7 176-02-intermediate-hp3-fast-8 219-02-intermediate-hp5-slow-10
134-02-intermediate-hp1-fast-7 177-02-intermediate-hp3-slow-9 220-02-intermediate-hp5-fast-10
135-02-intermediate-hp1-slow-8 178-02-intermediate-hp3-fast-9 221-02-intermediate-hp6-slow-1
136-02-intermediate-hp1-fast-8 179-02-intermediate-hp3-slow-10 222-02-intermediate-hp6-fast-1
137-02-intermediate-hp1-slow-9 180-02-intermediate-hp3-fast-10 223-02-intermediate-hp6-slow-2
138-02-intermediate-hp1-fast-9 181-02-intermediate-hp4-slow-1 224-02-intermediate-hp6-fast-2
139-02-intermediate-hp1-slow-10 182-02-intermediate-hp4-fast-1 225-02-intermediate-hp6-slow-3
140-02-intermediate-hp1-fast-10 183-02-intermediate-hp4-slow-2 226-02-intermediate-hp6-fast-3
141-02-intermediate-hp2-slow-1 184-02-intermediate-hp4-fast-2 227-02-intermediate-hp6-slow-4
142-02-intermediate-hp2-fast-1 185-02-intermediate-hp4-slow-3 228-02-intermediate-hp6-fast-4
143-02-intermediate-hp2-slow-2 186-02-intermediate-hp4-fast-3 229-02-intermediate-hp6-slow-5
144-02-intermediate-hp2-fast-2 187-02-intermediate-hp4-slow-4 230-02-intermediate-hp6-fast-5
145-02-intermediate-hp2-slow-3 188-02-intermediate-hp4-fast-4 231-02-intermediate-hp6-slow-6
146-02-intermediate-hp2-fast-3 189-02-intermediate-hp4-slow-5 232-02-intermediate-hp6-fast-6
147-02-intermediate-hp2-slow-4 190-02-intermediate-hp4-fast-5 233-02-intermediate-hp6-slow-7
148-02-intermediate-hp2-fast-4 191-02-intermediate-hp4-slow-6 234-02-intermediate-hp6-fast-7
149-02-intermediate-hp2-slow-5 192-02-intermediate-hp4-fast-6 235-02-intermediate-hp6-slow-8
150-02-intermediate-hp2-fast-5 193-02-intermediate-hp4-slow-7 236-02-intermediate-hp6-fast-8
151-02-intermediate-hp2-slow-6 194-02-intermediate-hp4-fast-7 237-02-intermediate-hp6-slow-9
152-02-intermediate-hp2-fast-6 195-02-intermediate-hp4-slow-8 238-02-intermediate-hp6-fast-9
153-02-intermediate-hp2-slow-7 196-02-intermediate-hp4-fast-8 239-02-intermediate-hp6-slow-10
154-02-intermediate-hp2-fast-7 197-02-intermediate-hp4-slow-9 240-02-intermediate-hp6-fast-10
8/10/2019 Work Book 002 file john
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CD #2 - MP3001-02-advanced-hp1-slow-1 046-02-advanced-hp3-fast-3 091-02-advanced-hp5-slow-6
002-02-advanced-hp1-fast-1 047-02-advanced-hp3-slow-4 092-02-advanced-hp5-fast-6
003-02-advanced-hp1-slow-2 048-02-advanced-hp3-fast-4 093-02-advanced-hp5-slow-7
004-02-advanced-hp1-fast-2 049-02-advanced-hp3-slow-5 094-02-advanced-hp5-fast-7
005-02-advanced-hp1-slow-3 050-02-advanced-hp3-fast-5 095-02-advanced-hp5-slow-8
006--02-advanced-hp1-fast-3 051-02-advanced-hp3-slow-6 096-02-advanced-hp5-fast-8
007-02-advanced-hp1-slow-4 052-02-advanced-hp3-fast-6 097-02-advanced-hp5-slow-9
008-02-advanced-hp1-fast-4 053-02-advanced-hp3-slow-7 098-02-advanced-hp5-fast-9
009-02-advanced-hp1-slow-5 054-02-advanced-hp3-fast-7 099-02-advanced-hp5-slow-10
010-02-advanced-hp1-fast-5 055-02-advanced-hp3-slow-8 100-02-advanced-hp5-fast-10
011-02-advanced-hp1-slow-6 056-02-advanced-hp3-fast-8 101-02-advanced-hp6-slow-1
012-02-advanced-hp1-fast-6 057-02-advanced-hp3-slow-9 102-02-advanced-hp6-fast-1
013-02-advanced-hp1-slow-7 058-02-advanced-hp3-fast-9 103-02-advanced-hp6-slow-2
014-02-advanced-hp1-fast-7 059-02-advanced-hp3-slow-10 104-02-advanced-hp6-fast-2
015-02-advanced-hp1-slow-8 060-02-advanced-hp3-fast-10 105-02-advanced-hp6-slow-3
016-02-advanced-hp1-fast-8 061-02-advanced-hp4-slow-1 106-02-advanced-hp6-fast-3
017-02-advanced-hp1-slow-9 062-02-advanced-hp4-fast-1 107-02-advanced-hp6-slow-4
018-02-advanced-hp1-fast-9 063-02-advanced-hp4-slow-2 108-02-advanced-hp6-fast-4
019-02-advanced-hp1-slow-10 064-02-advanced-hp4-fast-2 109-02-advanced-hp6-slow-5
020-02-advanced-hp1-fast-10 065-02-advanced-hp4-slow-3 110-02-advanced-hp6-fast-5
021-02-advanced-hp2-slow-1 066-02-advanced-hp4-fast-3 111-02-advanced-hp6-slow-6
022-02-advanced-hp2-fast-1 067-02-advanced-hp4-slow-4 112-02-advanced-hp6-fast-6
023-02-advanced-hp2-slow-2 068-02-advanced-hp4-fast-4 113-02-advanced-hp6-slow-7
024-02-advanced-hp2-fast-2 069-02-advanced-hp4-slow-5 114-02-advanced-hp6-fast-7
025-02-advanced-hp2-slow-3 070-02-advanced-hp4-fast-5 115-02-advanced-hp6-slow-8
026-02-advanced-hp2-fast-3 071-02-advanced-hp4-slow-6 116-02-advanced-hp6-fast-8
027-02-advanced-hp2-slow-4 072-02-advanced-hp4-fast-6 117-02-advanced-hp6-slow-9
028-02-advanced-hp2-fast-4 073-02-advanced-hp4-slow-7 118-02-advanced-hp6-fast-9
029-02-advanced-hp2-slow-5 074-02-advanced-hp4-fast-7 119-02-advanced-hp6-slow-10
030-02-advanced-hp2-fast-5 075-02-advanced-hp4-slow-8 120-02-advanced-hp6-fast-10
031-02-advanced-hp2-slow-6 076-02-advanced-hp4-fast-8 121-02-jazz-1
032-02-advanced-hp2-fast-6 077-02-advanced-hp4-slow-9 122-02-jazz-2
033-02-advanced-hp2-slow-7 078-02-advanced-hp4-fast-9 123-02-jazz-3
034-02-advanced-hp2-fast-7 079-02-advanced-hp4-slow-10 124-02-jazz-4
035-02-advanced-hp2-slow-8 080-02-advanced-hp4-fast-10 125-02-jazz-5
036-02-advanced-hp2-fast-8 081-02-advanced-hp5-slow-1 126-02-jazz-6
037-02-advanced-hp2-slow-9 082-02-advanced-hp5-fast-1 127-02-jazz-7
038-02-advanced-hp2-fast-9 083-02-advanced-hp5-slow-2 128-02-jazz-8
039-02-advanced-hp2-slow-10 084-02-advanced-hp5-fast-2 129-02-jazz-9
040-02-advanced-hp2-fast-10 085-02-advanced-hp5-slow-3 130-02-jazz-10
041-02-advanced-hp3-slow-1 086-02-advanced-hp5-fast-3 131-04-beginner-beats-slow-1
042-02-advanced-hp3-fast-1 087-02-advanced-hp5-slow-4 132-04-beginner-beats-fast-1
043-02-advanced-hp3-slow-2 088-02-advanced-hp5-fast-4 133-04-beginner-beats-slow-2
044-02-advanced-hp3-fast-2 089-02-advanced-hp5-slow-5 134-04-beginner-beats-fast-2
045-02-advanced-hp3-slow-3 090-02-advanced-hp5-fast-5 135-04-beginner-beats-slow-3
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136-04-beginner-beats-fast-3 173-04-intermediate-beats-slow-7 210-04-advanced-beats-fast-10
137-04-beginner-beats-slow-4 174-04-intermediate-beats-fast-7 211-04-advanced-lls-slow-1
138-04-beginner-beats-fast-4 175-04-intermediate-beats-slow-8 212-04-advanced-lls-fast-1
139-04-beginner-beats-slow-5 176-04-intermediate-beats-fast-8 213-04-advanced-lls-slow-2
140-04-beginner-beats-fast-5 177-04-intermediate-beats-slow-9 214-04-advanced-lls-fast-2
141-04-beginner-beats-slow-6 178-04-intermediate-beats-fast-9 215-04-advanced-lls-slow-3
142-04-beginner-beats-fast-6 179-04-intermediate-beats-slow-10 216-04-advanced-lls-fast-3
143-04-beginner-beats-slow-7 180-04-intermediate-beats-fast-10 217-04-advanced-lls-slow-4
144-04-beginner-beats-fast-7 181-04-intermediate-lls-slow-1 218-04-advanced-lls-fast-4
145-04-beginner-beats-slow-8 182-04-intermediate-lls-fast-1 219-04-advanced-lls-slow-5
146-04-beginner-beats-fast-8 183-04-intermediate-lls-slow-2 220-04-advanced-lls-fast-5
147-04-beginner-beats-slow-9 184-04-intermediate-lls-fast-2 221-05-developing-the-technique-1
148-04-beginner-beats-fast-9 185-04-intermediate-lls-slow-3 222-05-developing-the-technique-2
149-04-beginner-beats-slow-10 186-04-intermediate-lls-fast-3 223-05-developing-the-technique-3
150-04-beginner-beats-fast-10 187-04-intermediate-lls-slow-4 224-05-developing-the-technique-4
151-04-beginner-lls-slow-1 188-04-intermediate-lls-fast-4 225-05-developing-the-technique-5
152-04-beginner-lls-fast-1 189-04-intermediate-lls-slow-5 226-05-developing-the-left-foot-1
153-04-beginner-lls-slow-2 190-04-intermediate-lls-fast-5 227-05-developing-the-left-foot-2
154-04-beginner-lls-fast-2 191-04-advanced-beats-slow-1 228-05-developing-the-left-foot-3
155-04-beginner-lls-slow-3 192-04-advanced-beats-fast-1 229-05-developing-the-left-foot-4
156-04-beginner-lls-fast-3 193-04-advanced-beats-slow-2 230-05-developing-the-left-foot-5
157-04-beginner-lls-slow-4 194-04-advanced-beats-fast-2 231-05-applying-it-within-a-beat-1
158-04-beginner-lls-fast-4 195-04-advanced-beats-slow-3 232-05-applying-it-within-a-beat-2
159-04-beginner-lls-slow-5 196-04-advanced-beats-fast-3 233-05-applying-it-within-a-beat-3
160-04-beginner-lls-fast-5 197-04-advanced-beats-slow-4 234-05-applying-it-within-a-beat-4
161-04-intermediate-beats-slow-1 198-04-advanced-beats-fast-4 235-05-applying-it-within-a-beat-5
162-04-intermediate-beats-fast-1 199-04-advanced-beats-slow-5 236-05-applying-it-within-a-beat-6
163-04-intermediate-beats-slow-2 200-04-advanced-beats-fast-5 237-05-applying-it-within-a-beat-7
164-04-intermediate-beats-fast-2 201-04-advanced-beats-slow-6 238-05-applying-it-within-a-beat-8
165-04-intermediate-beats-slow-3 202-04-advanced-beats-fast-6 239-05-applying-it-within-a-ll-1
166-04-intermediate-beats-fast-3 203-04-advanced-beats-slow-7 240-05-applying-it-within-a-ll-2
167-04-intermediate-beats-slow-4 204-04-advanced-beats-fast-7 241-05-applying-it-within-a-ll-3
168-04-intermediate-beats-fast-4 205-04-advanced-beats-slow-8 242-05-applying-it-within-a-ll-4
169-04-intermediate-beats-slow-5 206-04-advanced-beats-fast-8 243-05-applying-it-within-a-ll-5
170-04-intermediate-beats-fast-5 207-04-advanced-beats-slow-9 244-05-applying-it-within-a-ll-6
171-04-intermediate-beats-slow-6 208-04-advanced-beats-fast-9 245-05-applying-it-within-a-ll-7
172-04-intermediate-beats-fast-6 209-04-advanced-beats-slow-10 246-05-applying-it-within-a-ll-8
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CD #3 - MP3
001-06-beginner-beat-1 042-07-the-element-of-groove-2 083-07-foot-assignment-slow-1
002-06-beginner-beat-2 043-07-the-element-of-groove-3 084-07-foot-assignment-fast-1
003-06-beginner-beat-3 044-07-the-element-of-groove-4 085-07-foot-assignment-slow-2
004-06-beginner-beat-4 045-07-the-element-of-groove-5 086-07-foot-assignment-fast-2
005-06-beginner-beat-5 046-07-the-element-of-groove-6 087-07-foot-assignment-slow-3
006-06-beginner-beat-6 047-07-the-element-of-groove-7 088-07-foot-assignment-fast-3
007-06-beginner-beat-7 048-07-the-element-of-groove-8 089-07-foot-assignment-slow-4
008-06-beginner-beat-8 049-07-the-element-of-groove-9 090-07-foot-assignment-fast-4
009-06-beginner-lls-1 050-07-developing-balance-and-control-1 091-07-foot-assignment-slow-5
010-06-beginner-lls-2 051-07-developing-balance-and-control-2 092-07-foot-assignment-fast-5
011-06-beginner-lls-3 052-07-developing-balance-and-control-3 093-07-foot-assignment-slow-6
012-06-beginner-lls-4 053-07-developing-balance-and-control-4 094-07-foot-assignment-fast-6
013-06-beginner-lls-5 054-07-developing-balance-and-control-5 095-07-foot-assignment-slow-7
014-06-intermediate-beat-1 055-07-developing-balance-and-control-6 096-07-foot-assignment-fast-7015-06-intermediate-beat-2 056-07-developing-balance-and-control-7 097-07-single-stroke-beats-1
016-06-intermediate-beat-3 057-07-developing-balance-and-control-8 098-07-single-stroke-beats-2
017-06-intermediate-beat-4 058-07-developing-balance-and-control-9 099-07-single-stroke-beats-3
018-06-intermediate-beat-5 059-07-developing-balance-and-control-10 100-07-single-stroke-beats-4
019-06-intermediate-beat-6 060-07-developing-balance-and-control-11 101-07-single-stroke-beats-5
020-06-intermediate-beat-7 061-07-developing-balance-and-control-12 102-07-single-stroke-beats-6
021-06-intermediate-beat-8 062-07-basic-8th-and-16th-note-patterns-1 103-07-single-stroke-beats-7
022-06-intermediate-lls-1 063-07-basic-8th-and-16th-note-patterns-2 104-07-single-stroke-beats-8
023-06-intermediate-lls-2 064-07-basic-8th-and-16th-note-patterns-3 105-07-single-stroke-beats-9
024-06-intermediate-lls-3 065-07-basic-8th-and-16th-note-patterns-4 106-07-single-stroke-beats-10
025-06-intermediate-lls-4 066-07-basic-8th-and-16th-note-patterns-5 107-07-single-stroke-beats-11
026-06-advanced-beats-1 067-07-basic-8th-and-16th-note-patterns-6 108-07-single-stroke-beats-12
027-06-advanced-beats-2 068-07-basic-8th-and-16th-note-patterns-7 109-07-single-stroke-beats-13
028-06-advanced-beats-3 069-07-basic-8th-and-16th-note-patterns-8 110-07-single-stroke-beats-14
029-06-advanced-beats-4 070-07-bass-drum-triplets-1 111-07-single-stroke-beats-15
030-06-advanced-beats-5 071-07-bass-drum-triplets-2 112-07-single-stroke-beats-16
031-06-advanced-beats-6 072-07-bass-drum-triplets-3 113-07-single-stroke-lls-slow-1
032-06-advanced-beats-7 073-07-bass-drum-triplets-4 114-07-single-stroke-lls-fast-1
033-06-advanced-beats-8 074-07-bass-drum-triplets-5 115-07-single-stroke-lls-slow-2
034-06-advanced-beats-9 075-07-bass-drum-triplets-6 116-07-single-stroke-lls-fast-2
035-06-advanced-beats-10 076-07-bass-drum-triplets-7 117-07-single-stroke-lls-slow-3
036-06-advanced-lls-1 077-07-bass-drum-triplets-8 118-07-single-stroke-lls-fast-3
037-06-advanced-lls-2 078-07-bass-drum-triplets-9 119-07-single-stroke-lls-slow-4
038-06-advanced-lls-3 079-07-bass-drum-triplets-10 120-07-single-stroke-lls-fast-4
039-06-advanced-lls-4 080-07-bass-drum-triplets-11 121-07-single-stroke-lls-slow-5
040-06-advanced-lls-5 081-07-bass-drum-triplets-12 122-07-single-stroke-lls-fast-5
041-07-the-element-of-groove-1 082-07-bass-drum-triplets-13 123-07-single-stroke-lls-slow-6
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124-07-single-stroke-lls-fast-6 161-08-double-bass-slide-triplet-2 198-09-basic-16th-note-patterns-slow-2
125-07-single-stroke-lls-slow-7 162-08-double-bass-slide-triplet-3 199-09-basic-16th-note-patterns-fast-2
126-07-single-stroke-lls-fast-7 163-08-double-bass-slide-triplet-4 200-09-basic-16th-note-patterns-slow-3
127-07-note-value-exercises-1 164-08-double-bass-slide-triplet-5 201-09-basic-16th-note-patterns-fast-3
128-07-note-value-exercises-2 165-08-double-bass-slide-triplet-6 202-09-basic-16th-note-patterns-slow-4
129-07-note-value-exercises-3 166-08-double-bass-slide-triplet-7 203-09-basic-16th-note-patterns-fast-4
130-07-note-value-exercises-4 167-08-double-bass-slide-triplet-8 204-09-basic-16th-note-patterns-5
131-07-note-value-exercises-5 168-08-developing-slow-speeds-1 205-09-basic-16th-note-patterns-6
132-07-note-value-exercises-6 169-08-developing-slow-speeds-2 206-09-basic-16th-note-patterns-7
133-07-note-value-exercises-7 170-08-developing-slow-speeds-3 207-09-basic-16th-note-patterns-8
134-07-the-herta-lick-1 171-08-developing-slow-speeds-4 208-09-basic-16th-note-patterns-9
135-07-the-herta-lick-slow-2 172-08-developing-slow-speeds-5 209-09-basic-16th-note-patterns-10
136-07-the-herta-lick-fast-2 173-08-developing-slow-speeds-6 210-09-16th-note-triplets-with-double-strokes-1
137-07-the-herta-lick-slow-3 174-08-developing-slow-speeds-7 211-09-16th-note-triplets-with-double-strokes-2
138-07-the-herta-l ick-fast-3 175-08-developing-speed-with-single-strokes-1 212-09-16th-note-triplets-with-double-strokes-3
139-07-the-herta-l ick-slow-4 176-08-developing-speed-with-single-strokes-2 213-09-16th-note-triplets-with-double-strokes-4
140-07-the-herta-l ick-fast-4 177-08-developing-speed-with-single-strokes-3 214-09-16th-note-triplets-with-double-strokes-5
141-07-the-herta-l ick-slow-5 178-08-developing-speed-with-single-strokes-4 215-09-hertas-with-double-strokes-slow-1
142-07-the-herta-lick-fast-5 179-08-developing-speed-with-single-strokes-5 216-09-hertas-with-double-strokes-fast-1
143-07-the-herta-l ick-slow-6 180-08-developing-speed-with-single-strokes-6 217-09-hertas-with-double-strokes-slow-2
144-07-the-herta-lick-fast-6 181-08-developing-speed-with-single-strokes-7 218-09-hertas-with-double-strokes-fast-2
145-07-the-herta-l ick-slow-7 182-08-developing-hand-and-foot-independence-1 219-09-hertas-with-double-strokes-slow-3
146-07-the-herta-l ick-fast-7 183-08-developing-hand-and-foot-independence-2 220-09-hertas-with-double-strokes-fast-3
147-08-double-bass-warm-ups-1 184-08-developing-hand-and-foot-independence-3 221-09-hertas-with-double-strokes-slow-4
148-08-double-bass-warm-ups-2 185-08-developing-hand-and-foot-independence-4 222-09-hertas-with-double-strokes-fast-4
149-08-double-bass-warm-ups-3 186-08-developing-hand-and-foot-independence-5 223-09-hertas-with-double-strokes-slow-5
150-08-double-bass-warm-ups-4 187-08-developing-hand-and-foot-independence-6 224-09-hertas-with-double-strokes-fast-5
151-08-double-bass-warm-ups-5 188-08-developing-hand-and-foot-independence-7 225-09-hertas-with-double-strokes-slow-6
152-08-developing-the-weaker-foot-1 189-08-developing-hand-and-foot-independence-8 226-09-hertas-with-double-strokes-fast-6
153-08-developing-the-weaker-foot-2 190-08-ending-with-odd-numbers-1 227-09-hertas-with-double-strokes-slow-7
154-08-developing-the-weaker-foot-3 191-08-ending-with-odd-numbers-2 228-09-hertas-with-double-strokes-fast-7
155-08-developing-the-weaker-foot-4 192-08-ending-with-odd-numbers-3 229-09-hertas-with-double-strokes-slow-8
156-08-developing-the-weaker-foot-5 193-08-ending-with-odd-numbers-4 230-09-hertas-with-double-strokes-fast-8
157-08-developing-the-weaker-foot-6 194-08-ending-with-odd-numbers-5 231-09-hertas-with-double-strokes-slow-9
158-08-developing-the-weaker-foot-7 195-08-ending-with-odd-numbers-6 232-09-hertas-with-double-strokes-fast-9
159-08-developing-the-weaker-foot-8 196-09-basic-16th-note-patterns-slow-1 233-09-hertas-with-double-strokes-slow-10
160-08-double-bass-slide-triplet-1 197-09-basic-16th-note-patterns-fast-1 234-09-hertas-with-double-strokes-fast-10
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CD #4 - MP3
001-10-beginner-beats-slow-1 044-10-advanced-beats-fast-1 087-11-intermediate-beats-3
002-10-beginner-beats-fast-1 045-10-advanced-beats-slow-2 088-11-intermediate-beats-4
003-10-beginner-beats-slow-2 046-10-advanced-beats-fast-2 089-11-intermediate-beats-5
004-10-beginner-beats-fast-2 047-10-advanced-beats-slow-3 090-11-intermediate-beats-6
005-10-beginner-beats-slow-3 048-10-advanced-beats-fast-3 091-11-intermediate-beats-7
006-10-beginner-beats-fast-3 049-10-advanced-beats-slow-4 092-11-intermediate-beats-8
007-10-beginner-beats-slow-4 050-10-advanced-beats-fast-4 093-11-intermediate-beats-9
008-10-beginner-beats-fast-4 051-10-advanced-beats-slow-5 094-11-intermediate-beats-10
009-10-beginner-beats-slow-5 052-10-advanced-beats-fast-5 095-11-intermediate-lls-1
010-10-beginner-beats-fast-5 053-10-advanced-beats-slow-6 096-11-intermediate-lls-2
011-10-beginner-beats-slow-6 054-10-advanced-beats-fast-6 097-11-intermediate-lls-3
012-10-beginner-beats-fast-6 055-10-advanced-beats-slow-7 098-11-intermediate-lls-4
013-10-beginner-beats-slow-7 056-10-advanced-beats-fast-7 099-11-intermediate-lls-5
014-10-beginner-beats-fast-7 057-10-advanced-beats-slow-8 100-11-intermediate-lls-6
015-10-beginner-beats-slow-8 058-10-advanced-beats-fast-8 101-11-intermediate-lls-7
016-10-beginner-beats-fast-8 059-10-advanced-beats-slow-9 102-11-intermediate-lls-8
017-10-beginner-beats-slow-9 060-10-advanced-beats-fast-9 103-11-intermediate-lls-9
018-10-beginner-beats-fast-9 061-10-advanced-beats-slow-10 104-11-intermediate-lls-10
019-10-beginner-beats-slow-10 062-10-advanced-beats-fast-10 105-11-advanced-beats-1
020-10-beginner-beats-fast-10 063-10-advanced-beats-slow-11 106-11-advanced-beats-2
021-10-beginner-beats-slow-11 064-10-advanced-beats-fast-11 107-11-advanced-beats-3
022-10-beginner-beats-fast-11 065-11-beginner-beats-1 108-11-advanced-beats-4
023-10-intermediate-beats-slow-1 066-11-beginner-beats-2 109-11-advanced-beats-5
024-10-intermediate-beats-fast-1 067-11-beginner-beats-3 110-11-advanced-beats-6
025-10-intermediate-beats-slow-2 068-11-beginner-beats-4 111-11-advanced-beats-7
026-10-intermediate-beats-fast-2 069-11-beginner-beats-5 112-11-advanced-beats-8
027-10-intermediate-beats-slow-3 070-11-beginner-beats-6 113-11-advanced-beats-9
028-10-intermediate-beats-fast-3 071-11-beginner-beats-7 114-11-advanced-beats-10
029-10-intermediate-beats-slow-4 072-11-beginner-beats-8 115-11-advanced-lls-1
030-10-intermediate-beats-fast-4 073-11-beginner-beats-9 116-11-advanced-lls-2
031-10-intermediate-beats-slow-5 074-11-beginner-beats-10 117-11-advanced-lls-3
032-10-intermediate-beats-fast-5 075-11-beginner-lls-1 118-11-advanced-lls-4
033-10-intermediate-beats-slow-6 076-11-beginner-lls-2 119-11-advanced-lls-5
034-10-intermediate-beats-fast-6 077-11-beginner-lls-3 120-11-advanced-lls-6
035-10-intermediate-beats-slow-7 078-11-beginner-lls-4 121-11-advanced-lls-7
036-10-intermediate-beats-fast-7 079-11-beginner-lls-5 122-11-advanced-lls-8
037-10-intermediate-beats-slow-8 080-11-beginner-lls-6 123-11-advanced-lls-9
038-10-intermediate-beats-fast-8 081-11-beginner-lls-7 124-11-advanced-lls-10
039-10-intermediate-beats-slow-9 082-11-beginner-lls-8 125-11-advanced-lls-11
040-10-intermediate-beats-fast-9 083-11-beginner-lls-9 126-12-skank-blast-slow-1
041-10-intermediate-beats-slow-10 084-11-beginner-lls-10 127-12-skank-blast-fast-1
042-10-intermediate-beats-fast-10 085-11-intermediate-beats-1 128-12-skank-blast-slow-2
043-10-advanced-beats-slow-1 086-11-intermediate-beats-2 129-12-skank-blast-fast-2
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130-12-skank-blast-slow-3 166-13-5-stroke-rolls-slow-1 202-13-7-stroke-rolls-slow-3
131-12-skank-blast-fast-3 167-13-5-stroke-rolls-fast-1 203-13-7-stroke-rolls-fast-3
132-12-skank-blast-slow-4 168-13-5-stroke-rolls-slow-2 204-13-7-stroke-rolls-slow-4
133-12-skank-blast-fast-4 169-13-5-stroke-rolls-fast-2 205-13-7-stroke-rolls-fast-4
134-12-skank-blast-slow-5 170-13-5-stroke-rolls-slow-3 206-13-7-stroke-rolls-slow-5
135-12-skank-blast-fast-5 171-13-5-stroke-rolls-fast-3 207-13-7-stroke-rolls-fast-5
136-12-skank-blast-slow-6 172-13-5-stroke-rolls-slow-4 208-13-7-stroke-rolls-slow-6
137-12-skank-blast-fast-6 173-13-5-stroke-rolls-fast-4 209-13-7-stroke-rolls-fast-6
138-12-hammer-blast-slow-1 174-13-5-stroke-rolls-slow-5 210-13-7-stroke-rolls-slow-7
139-12-hammer-blast-fast-1 175-13-5-stroke-rolls-fast-5 211-13-7-stroke-rolls-fast-7
140-12-hammer-blast-slow-2 176-13-5-stroke-rolls-slow-6 212-13-7-stroke-rolls-slow-8
141-12-hammer-blast-fast-2 177-13-5-stroke-rolls-fast-6 213-13-7-stroke-rolls-fast-8
142-12-hammer-blast-slow-3 178-13-5-stroke-rolls-slow-7 214-13-9-stroke-rolls-slow-1
143-12-hammer-blast-fast-3 179-13-5-stroke-rolls-fast-7 215-13-9-stroke-rolls-fast-1
144-12-hammer-blast-slow-4 180-13-5-stroke-rolls-slow-8 216-13-9-stroke-rolls-slow-2
145-12-hammer-blast-fast-4 181-13-5-stroke-rolls-fast-8 217-13-9-stroke-rolls-fast-2
146-12-hammer-blast-slow-5 182-13-6-stroke-rolls-slow-1 218-13-9-stroke-rolls-slow-3
147-12-hammer-blast-fast-5 183-13-6-stroke-rolls-fast-1 219-13-9-stroke-rolls-fast-3
148-12-hammer-blast-slow-6 184-13-6-stroke-rolls-slow-2 220-13-9-stroke-rolls-slow-4
149-12-hammer-blast-fast-6 185-13-6-stroke-rolls-fast-2 221-13-9-stroke-rolls-fast-4
150-12-bomb-blast-slow-1 186-13-6-stroke-rolls-slow-3 222-13-9-stroke-rolls-slow-5
151-12-bomb-blast-fast-1 187-13-6-stroke-rolls-fast-3 223-13-9-stroke-rolls-fast-5
152-12-bomb-blast-slow-2 188-13-6-stroke-rolls-slow-4 224-13-9-stroke-rolls-slow-6
153-12-bomb-blast-fast-2 189-13-6-stroke-rolls-fast-4 225-13-9-stroke-rolls-fast-6
154-12-bomb-blast-slow-3 190-13-6-stroke-rolls-slow-5 226-13-9-stroke-rolls-slow-7
155-12-bomb-blast-fast-3 191-13-6-stroke-rolls-fast-5 227-13-9-stroke-rolls-fast-7
156-12-gravity-blast-1 192-13-6-stroke-rolls-slow-6 228-13-11-stroke-rolls-slow-1
157-12-gravity-blast-2 193-13-6-stroke-rolls-fast-6 229-13-11-stroke-rolls-fast-1
158-12-traditional-blast-slow-1 194-13-6-stroke-rolls-slow-7 230-13-11-stroke-rolls-slow-2
159-12-traditional-blast-fast-1 195-13-6-stroke-rolls-fast-7 231-13-11-stroke-rolls-fast-2
160-12-traditional-blast-slow-2 196-13-6-stroke-rolls-slow-8 232-13-11-stroke-rolls-slow-3
161-12-traditional-blast-fast-2 197-13-6-stroke-rolls-fast-8 233-13-11-stroke-rolls-fast-3
162-12-hybrid-hammer-blast-slow-1 198-13-7-stroke-rolls-slow-1 234-13-11-stroke-rolls-slow-4
163-12-hybrid-hammer-blast-fast-1 199-13-7-stroke-rolls-fast-1 235-13-11-stroke-rolls-fast-4
164-12-hybrid-hammer-blast-slow-2 200-13-7-stroke-rolls-slow-2 236-13-11-stroke-rolls-slow-5
165-12-hybrid-hammer-blast-fast-2 201-13-7-stroke-rolls-fast-2 237-13-11-stroke-rolls-fast-5
8/10/2019 Work Book 002 file john
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8/10/2019 Work Book 002 file john
http://slidepdf.com/reader/full/work-book-002-file-john 170/171
8/10/2019 Work Book 002 file john
http://slidepdf.com/reader/full/work-book-002-file-john 171/171
Credits and Special Thanks
Shot at Railroad Media in Abbotsford, B.C. Canada
Featuring: Jared Falk, Sean Lang, Dave Atkinson
Executive Producers & Directors: Jared Falk, Rick Kettner
Executive Post Editor: Jamie Falk
Chief Audio Engineer: Victor Guidera
Audio Mastering: Victor Guidera
Graphic and Production Design: Jamie Falk
Photography: Jayme Lang
B k D i d Editi J i F lk J d H l