FIVE MINUTE DRILL by Tapspace

STUDENT NAME:

FIVE MINUTE

DRILL

N! U F Daily Classroom

Routines for Percussion Ralph Hicks & Eric Rath

FIVE MINUTE DRILL • TSPB-22 © 2013 Tapspace Publications, LLC. Portland, OR. International copyright secured. All rights reserved. www.tapspace.com Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

Music, text, and photo content by Ralph Hicks and Eric Rath. Cover design by Jesse Mattson (www.jessemattson.com). Book layout, editing, and design by Murray Gusseck and Jim Casella. Note: Errata and additions to this text, if any, may be found by visiting the “Errata” forum board on the Tapspace Forum at www.tapspace.com/forums

TABLE OF CONTENTS ABOUT THE AUTHORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HOW TO USE THIS BOOK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TECHNIQUES & TERMINOLOGY AT A GLANCE. . . . . . . . . . . . . . . . . . . . . . . . .

PRACTICE PAD

4 5 6 8

PRACTICE PAD BREAKDOWN EXERCISES. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Legato Strokes & Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Flams & Paradiddles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Timing Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Double Strokes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Buzz Strokes & Accent/Tap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Chicken and a Roll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Time to Jam!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

FULL SEQUENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

KEYBOARD

KEYBOARD MAJOR SCALE BREAKDOWN EXERCISES. . . . . . . . . . . . . . . . . 21 C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Bb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Eb Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Ab Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Db Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Gb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 B Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 E Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 A Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

FULL SEQUENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 KEYBOARD CHROMATIC SCALE SEQUENCES. . . . . . . . . . . . . . . . . . . . . . . . . 39 Chromatic Scales – C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Chromatic Scales – F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

DATA TRACKING

DATA TRACKING TOOLS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

ABOUT THE AUTHORS First and foremost a teacher, Ralph Hicks feels blessed to have been influenced by amazing and dedicated educators. Ralph is a product of the highly successful Spring High School Band program (Spring, Texas), winning two Texas 5A State Marching Championships, one BOA Grand National Championship, a PAS Call for Tapes, and a naming to the 1995 Texas All-State Orchestra. Receiving a full scholarship to the University of Kentucky, Ralph studied percussion under Professor James B. Campbell. In 1996, he took first place in the PAS International Vibraphone Solo competition. In 1997, he was a member of the Cavaliers Drum & Bugle Corps and was named a Yamaha Young Performing Artist. Ralph teaches at Mitchell Intermediate in The Woodlands, Texas. He is director of The Percussion Studio community performance group and founder of “Let Them Drum!”—a non-profit organization providing drum therapy services for children and adults with special needs, memory care and assisted living, and addiction recovery. In 2012, Mr. Hicks was named Mitchell Intermediate’s Teacher of the Year and Conroe ISD Outstanding Teacher in the Arts by The Woodlands Waterway Arts Council. Ralph lives in his hometown of Spring, Texas, with his wife Marcail and their two children, Brooklynn and William. He is a member of Phi Mu Alpha Sinfonia, Texas Music Educators Association, the Percussive Arts Society, the Drum Circle Facilitators Guild, the American Society of Composers, Authors and Publishers, and is endorsed by Innovative Percussion.

Eric Rath is an active educator, clinician, arranger, and composer. In addition to his day-to-day duties as a music educator, Mr. Rath serves as Adjunct Instructor of Percussion at Amarillo College. Mr. Rath is a graduate of West Texas A&M University, where he received both his Bachelor of Music Education and his Master of Arts degree. While at WT, he studied percussion with Dr. Susan Martin Tariq and was a member of the symphonic band under the direction of Dr. Gary Garner, then Mr. Don Lefevre. As a composer, Mr. Rath has a growing list of original works and arrangements published through TRN Music, C. Alan Publications, Tapspace Publications, HoneyRock Publications, and Eric Rath Music. Mr. Rath’s compositions have been performed at the Midwest Clinic and the Texas Music Educators Association Convention. Mr. Rath, along with Ralph Hicks, is co-author of the percussion ensemble collection Beyond Basic Percussion: Developing Independence Through Ensemble Performance (Tapspace Publications). Mr. Rath is a member of the Amarillo Symphony Orchestra and also regularly performs with the Amarillo Opera. Mr. Rath is active as an in-demand freelance percussionist as well as a member on the worship team at his church. He is also a former member of the Phantom Regiment Drum & Bugle Corps. Mr. Rath resides in Amarillo, Texas, with his wife Kayla and their children Regan, Grant, and McKinley. His professional affiliations include the Percussive Arts Society, Texas Music Educators Association, Texas Bandmasters Association. He is an alumnus and former chapter president of Phi Mu Alpha Sinfonia. He is also proud to be an Innovative Percussion Artist as well as a member of the American Society of Composers, Authors and Publishers (ASCAP). 4

INTRODUCTION The FIVE MINUTE DRILL concept was put together for a clinic at the 2012 Texas Music Educators Association’s (TMEA) annual convention entitled Beyond the Back of the Room: After the Beginning Percussion Year. Through years of observing successful Texas band directors, such as Bill Watson, Andy Sealy, and Joni Perez, the one constant we found was a rigorous “daily drill” routine. On average, 25 percent of each rehearsal was being dedicated solely to the fundamentals—long tones, lip slurs, articulation studies, etc. While part of our TMEA clinic was based on our book Beyond Basic Percussion, the concept of a daily “five minute drill” was something our own students were quickly benefitting from. While lip slurs and long tones help develop invaluable skills on wind instruments, they do little for the needs of the percussion section. Many successful programs find ways to involve percussionists, but often this entails merely doubling the flute part on a keyboard or tasking a player to play simple rhythms on a snare drum or practice pad. The percussionists in the class soon realize that all the other musicians are working essential skills on their instruments while they are only being kept busy. No wonder they start messing around! Knowing that this is a common problem, we thought we could use part of our clinic to help offer some solutions. We used Mitchell Intermediate (The Woodlands, Texas), which had 35-minute classes, for our model. After factoring in time for setup and teardown of both class equipment AND pulling out instruments, we built five solid minutes to focus solely on essential percussion techniques not typically covered in the normal daily drill routine for the winds. In order to maximize our time, we streamlined our exercises to those techniques most commonly used. We wanted a solid foundation of terminology, sticking options, muscle development, and rudimental vocabulary that would turn even the most casual players into valuable contributors. FIVE MINUTE DRILL engages young percussionists in a way not possible in a full band setting. Rather than feeling like you’re just “keeping them busy,” you’ll know that you’re providing attention equal to that of your wind players in the development of their basic skills. Using FMD as a curriculum for basic percussion fundamentals throughout the district, high schools and their feeders can vertically align their essential techniques and terminology. When a middle school student starts high school, they’ll already know what to expect! The exercises in this book also provide an exciting new resource for private lesson settings. We feel strongly that players learn more when what they’re working on is fun! FMD makes it fun for students and teachers, and it can be fun for audiences, too. Need a class feature for a concert, faculty meeting, or band party? Look no further! A strong regimen of daily fundamentals can significantly improve percussionists’ concept of sound and technique in a relatively short period of time. Whether it be before, during, or after school, in private lessons, or at home, the skills developed with FMD will take percussionists far beyond the back of the room!

HOW TO USE THIS BOOK At its core, FIVE MINUTE DRILL is a series of individual exercises and sequences for both practice pad and mallet keyboard accompanied by play-along audio tracks. It is designed to be fun for percussion students while encouraging a consistent practice routine. It can be used both in and out of the classroom. In the classroom, FMD can provide percussion students with something productive to do during class time, separate from the wind players who are going through their own fundamental drills. The students will have the option of practicing rudiments on the practice pad or major/chromatic scales on the keyboard. The play-along tracks are designed to enable the students to do one or two drills each as time allows. In the private teaching setting, FMD can be used with students one-on-one to augment their teacher’s own program…helping to knock out some of the fundamentals in a way that is fun but not overly “mental.”

To help maximize what you can do with FIVE MINUTE DRILL, here are some general guidelines on how it was meant to be used:

Have a plan

The ultimate goal should be a regular rotation of the full Five Minute Drill sequences. As your students progress toward being able to play the full sequences using the slower “breakdown” exercises, figure out how much time you have and combine the exercises to fit your needs. The key to success will be both variety— mixing up the instruments and exercises day-by-day—and consistency— keeping a normal routine. Here’s an example of a varied routine to keep things consistent and fun over the course of a week. Monday

Tuesday

Wednesday

Thursday

Friday

Stay with Band*

Five Minute Drill PRACTICE PAD

Five Minute Drill KEYBOARDS

Five Minute Drill PRACTICE PAD

Stay with Band*

double flute part on keyboard (to work on roll techniques)

• Legato Strokes & Dynamics - med • Flams & Paradiddles - slow

• F Major, Bb Major - slow • Chromatic C Full Sequence - med

• Timing Patterns - slow • Double Strokes - med

accessory routine

*see opposite page

In addition to school or private lessons, FMD is also an ideal model for an at-home practice regimen. Just because students are told how long to practice each day or week doesn’t necessarily mean they know what to do for that length of time. For younger students, 20 minutes of “practice time” can turn into five minutes of actual work followed by 15 minutes of goofing off. The Data Tracking Tools (described on page 45) on the CD-ROM provide an easy way to track practice time at home or in the classroom. Kids are really busy these days, and a little help in structure and efficiency will be appreciated by both students and parents.

Take your time and track your data

There is a lot of material to cover within FMD, especially if these techniques are new to players. There are plenty of track combinations to get your allotted time in, so mix it up and try not to rush the process. Start with the slower Breakdown tracks and the included Data Tracking Tools to record your progress. It will take some getting used to, but after a few weeks you will start to see some patterns emerge. Tracking data allows you to analyze your progress and make any necessary adjustments.

Follow the stickings

While it may seem inconvenient for a young player to follow stickings at first, the indicated stickings have been designed with specific goals in mind. They are crucial in developing muscle memory. Don’t cut corners here. If a sticking is inconvenient, it’s probably identifying something specific that you’ll benefit from. We’re experienced percussionists ourselves, and we can assure you that the included stickings will help develop techniques. Stick with it—you can thank us later!

Use the recordings

The tracks on the CD-ROM really do make a difference! Careful consideration went into matching the music with the concepts being addressed. The accompaniment also helps develop a sense of timing and ensemble awareness in a way a standard metronome cannot. Be cautious with the volume—don’t crank the speakers so loud you can’t hear the practice pads or keyboards. The slow tracks should be slow enough to use right out of the gate and could offer an opportunity to practice counting or verbal note naming as well.

*Staying with the Band

On days when the FMD routines aren’t being used, band directors need to have productive things that percussionists do while the wind players practice their fundamentals. This is probably a topic for another book, but for starters, here are a few ideas to keep percussionists engaged: • Percussionists double the flute part on keyboards (e.g., using smooth, connected rolls). • Devise an accessory routine where percussionists rotate playing simple time-keeping parts on common accessory instruments like bass drum, snare drum, cymbals, triangle, and tambourine.

Are you a “lone wolf” band director?

If you don’t have an assistant band director or percussion specialist to help guide your students through these routines while you’re working with the winds, that’s OK. Here are some ideas on how to keep things productive while using the FMD program. • Have a local university percussion major come in as an intern to work FMD with your students. • Assign a student leader who can corral the percussionists and lead them through the FMD routines. • Leave wind students with a rotating group of student conductors to run them through their fundamentals while you run the percussion students through FMD routines for 5 minutes.

TECHNIQUES & TERMINOLOGY AT A GLANCE Below you will find a list of the most common techniques and concepts covered in FIVE MINUTE DRILL along with a few brief notes on how to approach them. We recognize that there are many different ways to approach just about everything in the percussion realm. Please consider the following as suggestions and not as a replacement for live instruction from a professional. Hopefully these technique tips will complement the style of your particular method!

PRACTICE

PAD

PRACTICE PAD TERM

Set Position

How you stand at all times

Grip

How you hold the stick

Stand with feet a shoulder width apart with feet angled outward. Have tall posture with relaxed shoulders and a set grip with sticks in the up or down position. Elbows should be relaxed with the beads of the sticks in the center of the pad. The thumbs are flat to the stick. The fingers are wrapped around the stick. The hands are flat to the ground. The overall grip should feel relaxed. A slight downward slope of the palm is acceptable. Even though keyboard mallets have a smaller diameter, the grip is virtually the same.

Legato Strokes

The stick moves in a smooth, nonstop motion from the wrist, creating a consistent, full tone. Keep a consistent height, trying to make all the strokes of a given volume look, sound, and feel the same.

Dynamics

Get softer by playing lower; get louder by playing higher, being careful not to overdo it on either side. The only thing changing in your stroke is the height— and nothing else.

Flams

Simply add a grace note (unlifted stroke) slightly before a regular stroke. Focus on the timing between strokes, going for the same “chut” sound every time.

The most commonly used stroke

Different volumes controlled through stroke height

One of the most commonly used rudiments

Paradiddles

An introduction to diddle rudiments

Timing Patterns

DESCRIPTION

Sticking patterns for different rhythm combinations

Follows a simple RLRR/LRLL sticking pattern. Pay attention to the differences in height between the accents and the taps. Playing paradiddles with your hands on different surfaces makes a pretty cool groove! Develops rhythmic control and sticking pattern consistency. One hand uses a legato stroke (nonstop motion), while the other uses a “down stroke” (stops in the down position after striking).

TERM

Double Strokes

Used in diddle rudiments (paradiddles, rolls, etc.)

Buzz Strokes

Also known as “multiple bounce” strokes

Accent/Tap

Series of accented and unaccented notes

KEY BOARD

DESCRIPTION Use the natural rebound of the stick to create a strong second stroke. Relax the back fingers by creating space between the stick and the palm—NEVER the stick and the fingers! Using a little arm at faster speeds is natural and acceptable. Relax the back fingers with more pressure on the middle finger, using slightly more arm. Keep the stick flat to the drum and try to make the “buzz” sound last until the next stroke. Too much wrist will make the attack too heavy. This means using a combination of down strokes (starting high, ending low), up strokes (starting low, ending high), and tap strokes (low, unaccented strokes). Pay close attention to the strokes just before and after the accents.

KEYBOARD TERM

Set Position

How you stand at all times

DESCRIPTION Stand far enough forward/back so the mallethead strikes the center of the bar. A common stroke for mallet players is calle the piston stroke, which begins in the “up” position at the appropriate height for the volume being played. Strike the bar and return to the up position. Let the back three fingers counterbalance the thumb and forefinger. The best pivot point is usually around the bottom third of the mallet.

Target Zones

Keyboards sound best when struck in the center of the bar over the resonator. In order to keep your range of motion to a minimum, switch to the edge of the bar on sharps/flats as tempos increase. Pay close attention to avoiding the “nodal points” (where the rope goes through the bar).

Circle of 4ths

This means each scale is an interval of a perfect fourth away from the next scale, either adding a flat or taking away a sharp. This also means that the fourth note of each scale becomes the first note of the next scale.

Major Scales

Major scales all have the same sequence of whole steps (W) and half steps (H), as in W-W-H-W-W-W-H. Other types of scales (minor, modes, blues) are much easier to play when you know your majors because you can see how they relate to each other.

Chromatic Scales

The chromatic scale consists of the smallest building block in western tonal music—the half step. This will help you become more comfortable getting around the entire instrument and at reading naturals and accidentals.

The optimal point of contact for sound production

The order in which the scales are presented

The most common form of scale patterns

Scales containing every note in the octave

FIVE MINUTE DRILL

FIVE MINUTE

FIVE MINUTE PRACTICE

PAD DRILL

FIVE MINUTE

Breakdown Exercises

Time to roll up the shirt sleeves and get going on the daily practice pad breakdown drills. These drills isolate the basic concepts that will ultimately comprise the Five Minute Drill on page 18. We recommend practicing these exercises first as you work toward the full sequence. Be sure to use the tracks on your CD-ROM to keep accurate tempo and to make things more fun! Here is a brief overview of the practice pad exercises: 1. 2. 3. 4. 5. 6. 7.

Legato Strokes & Dynamics Flams & Paradiddles Timing Patterns Double Strokes Buzz Strokes & Accent/Tap Chicken and a Roll Time to Jam!

DRILL Remember to record your progress using the Data Tracking Tool PDFs (see page 45) on your CD.

FIVE MINUTE DRILL

Legato Strokes & Dynamics QUICK

TIPS

Legato Strokes

Dynamics

• • • • •

• • • •

Consistent heights and grip Relaxed, smooth motion from the wrist Back fingers on stick Hand at rest stays set Mostly wrist with a little arm

Consistent heights and grip Relaxed, smooth motion from the wrist Don’t slow down or speed up Be patient and gradual when changing heights for a crescendo or decrescendo

PLAY! COUNT-OFF

Play- 01 - SLOW – 84 bpm (01’47”) along 02 - MEDIUM – 100 bpm (01’30”) Tracks 03 - FAST – 116 bpm (01’18”)

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PRACTICE PAD – BREAKDOWN EXERCISES

Flams & Paradiddles QUICK

TIPS

Flams

Paradiddles

• • • • •

Consistent heights and grip Should sound like “chut” Pay attention to Down/Up/Tap strokes Don’t slow down or speed up Upper case R’s and L’s indicate high notes; lower case r’s and l’s indicate low notes

Consistent heights and grip Use Down strokes after the accents Control the bounce of the “diddle” strokes Be patient and careful not to rush Upper case R’s and L’s indicate high notes; lower case r’s and l’s indicate low notes

PLAY!

COUNT-OFF

Play- 04 - SLOW – 120 bpm (01’21”) along 05 - MEDIUM – 140 bpm (01’10”) Tracks 06 - FAST – 160 bpm (01’01”)

"1"

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OPTIONAL: Airplay to the drum solo!

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FIVE MINUTE DRILL

Timing Patterns QUICK

TIPS

• Consistent heights and grip • Pay attention to different stroke types—legato vs. controlled • Line up with the groove!

COUNT-OFF (Guitar Intro)

Play- 07 - SLOW – 85 bpm (00’58”) along 08 - MEDIUM – 95 bpm (00’52”) Tracks 09 - FAST – 105 bpm (00’47”)

"1"

4 /4V V V V

"2" "READY" "GO"

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R L

L R

R L

L R

R L

L R

R L

L R

R L

mf 3

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ≈ œ œ œ œ R L

L R

R L

L R

R L

L R

R L

L R

R L

L R

R L

L R

R L

L R

™™

R L

OPTIONAL: Play on the rim 9

/ ™™ œ œ œ R L

L R

R L

œ œ œ œ

œ ≈ œ œ œ

R L

L R

R L

L R

R L

L R

R L

L R

¿ ¿ ¿ ¿ ¿

R L

L R

R L

L R

R L

L R

R L

f 13

/ ™™ œ œ œ œ œ œ œ œ œ ≈ œ œ œ R

sub. p

molto cresc.

> ™™ œ 17

‘

™™

PRACTICE PAD – BREAKDOWN EXERCISES

Double Strokes QUICK

TIPS

• Consistent heights and grip • Use back fingers to control the second stroke of each double • Space between stick and palm but not between stick and finger

Playalong Tracks

COUNT-OFF

10 - SLOW – 76 bpm (00’50”) 11 - MEDIUM – 86 bpm (00’44”) 12 - FAST – 96 bpm (00’39”)

"1"

"2"

"3"

"2"

"4"

> > > > > > > > œ œ œ ≈ œ œ œ œ œjœ

4 /4Œ Œ Œ Œ

Drum �ll

PLAY! 1

/ œ œ œ ≈ œ œ œ œ œ ≈ œ œ R

œ œ œ ≈ œ œ œ œ œ ≈ œ œ

mf - f Both hands together! 3

/ œ œ œ ≈ œ œ œ œ œ ≈ œ œ R

> > ≈ œ œ œ œ œ œ œ œ ≈ œ œ ≈ ≈ > >

™™

OPTIONAL: Stick clicks

≈ œ œ œ œ œ ≈ œ œ œ œ œ / ≈ ≈ sub. p

‘

> > > > > > ¿ ¿ ¿ œ œ œ œ ≈ œ œ Œ ≈ > > > > > >

FIVE MINUTE DRILL

Buzz Strokes & Accent/Tap QUICK

TIPS

Buzz Strokes

Accent/Tap

• • • • •

• Consistent heights and grip • Pay attention to Down/Up/Tap strokes • Pay attention to the taps before and after each accent • Upper case R’s and L’s indicate high notes; lower case r’s and l’s indicate low notes

Consistent heights and grip Relax back fingers More pressure on middle finger Keep the stick flat to the drum Upper case R’s and L’s indicate high notes; lower case r’s and l’s indicate low notes

COUNT-OFF

Play- 13 - SLOW – 84 bpm (00’59”) along 14 - MEDIUM – 94 bpm (00’54”) Tracks 15 - FAST – 104 bpm (00’49”)

"1"

"2"

"1"

"2"

PLAY!

"3"

Œ Œ Œ ¿ œ

4 /4Œ Œ Œ Œ

mp 1

2 mmm m- j 3 j ¿ œ œ ¿ œ œ ¿ ¿ ¿ œ ¿ / œ

‘

•

> > > œ œœœ œ œ œ œ R

> Make it last! mmmm- j > > > >8m j 9 10 œ œœœ œ œœœœœ œ ˙ Œ ¿ œ œ ¿ œ œ ¿ œ œ ¿ ¿ ¿ œ ¿ R

l R

> > > œ œœœ œ œ œ œ L

l r

‘

> Make it last! > > > > 16 m œ œœœ œ œœœœœ œ ˙ Ó L

l r

l r l r L

PRACTICE PAD – BREAKDOWN EXERCISES

Chicken and a Roll

QUICK

TIPS

• • • • •

Consistent heights and grip Make the buzzes “touch” Find the pulse in the recording Keep the stick flat to the drum Also try using “double strokes” rather than buzz strokes COUNT-OFF (Synth intro)

Play- 16 - SLOW – 70-155 bpm (00’52”) along 17 - MEDIUM – 70-175 bpm (00’48”) Tracks 18 - FAST – 70-225 bpm (00’42”) PLAY!

V V V V f Play 4 times

accel.

7 7 7 7 / ™™ œ œ œ œ œ œ œ œ R

œ œ œ œ œ œ œ œ œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 ™™

‘

"1"

"2"

"READY" "GO!"

Play 4 times

accel.

"READY" "GO"

4 /4V V V V

> 11 7 7 7 7 7 7 7 7 / ™™ œ œ œ œ œ œ œ œ ™™ œ Œ Ó R

Time to Jam! QUICK

TIPS

• Consistent heights and grip • Don’t get too excited! • Have fun WHILE STAYING FOCUSED COUNT-OFF (Drum intro)

Play- 19 - SLOW – 140 bpm (00’29”) along 20 - MEDIUM – 155 bpm (00’26”) Tracks 21 - FAST – 170 bpm (00’24”)

Divisi (split parts) Group A rim

¿ / ¿ rim

¿ ¿

> > > > / œ œ œ œ L

> > > > > > ¿ œ œ œ œ œ œ œ œ ™™ œ¿ œ œ¿ œ œ œ ¿œ œ > > > > > > 3

Tutti (all together!)

For added fun, try "air drumming" the 'x' noteheads!

Group B

4 /4V

™™

‘

> > > > > > > > 9> > > > > œ œ œ œ œ œ œ œ œ ¿ ¿ ¿ ¿ R

> > > œ œ œ R

"Hoo!"

^ œœ BOTH

FIVE MINUTE DRILL

PRACTICE PAD

Play- 22 - SLOW (06’50”) along 23 - MEDIUM (06’00”) Tracks 24 - FAST (05’18”)

Full Sequence

Legato Strokes & Dynamics PLAY! COUNT-OFF

"1"

"2"

4 /4Œ

"1"

"2"

"3"

^ œœ

™™ œ œ œ œ œ œ œ œ œ œ R L

BOTH

R L

L R

R L

L R

R L

œ œ œ œ œ œ œ œ œ œ œ

R L

L R

R L

L R

R L

L R

R L

L R

™™

R L

/ ™™ 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 ™™ R L

R L

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

R L

> ™ / ™œ œ œ œ œ œ œ œ R

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

R L

œ œ œ œ œ œ œ œ

R L

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

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

R L

œ œ œ œ œ œ œ œ ™™

Rim > > > > > > > 22 23 24 ¿ 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

L R

R L

L R

R L

R L R L … L R L R …

R L

> / œ œ œ œ R

L R

f 29

R L

> œ œ œ œ œ œ œ œ L

R L

L R

R L

R L R L L R L R

R L R L … L R L R …

R L

> œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œ Œ Ó

R L R L …

Flams & Paradiddles Drum �ll

> > > œ œ œ œjœ œ œ œjœ

j œ

> >3> >5> >6> > 7 > > 8 > > >>> 2 4 œ œ œ œ œ œ œ œjœ œjœ œ œ œ œ œ œ œjœ œjœ œ œ œjœ œjœ œ œ œjœ œjœ œ œjœ œ œjœ œ œ œ œ

j œ

r l

r L l R

R L

r l

OPTIONAL: Airplay to the drum solo! 23

> > > ¿ ¿ ¿ ¿ ¿ ¿ ¿ R

> / ™™ œ j œ

> > 10 > > 17 > > 11 > > 12 > ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™œjœ Œ Ó Œ Œ / ™Œ R L

> œ

j œ

> œ

j œ

> œ

j œ

r L r l R l

R L

r l

r L r l R l

l r

R l L r

r l

r L l R

> > 19 ™™ ™™œjœ œjœ Ó

R L

R L R

> > > 21 ™™ ™™œjœ œjœ œjœ Œ ™™

R L

> > > > 25 > > 26 > > 27 > ¿ 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 L

> œ

j œ

> œ L

> œ

j œ

> œ

> ™™ œ

j œ

>j ‰ œ Œ j œ

> œ

j œ

> œ

>j ‰ œ Œ

j œ

> œ

j œ

> œ

j œ

PRACTICE PAD – FULL SEQUENCE

Timing Patterns 1

/ ™™ 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 ™™ R L R L R L

R L R L R L

R L L R

L R L R R L R L

R L R L R L

R L L R

L R L R R L R L

R L L R

L R R L

R L R L L R L R

L R R L

R L L R

L R

L R L R L R

L R L R R L R L

mf OPTIONAL: Play on the rim 9

10 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™™ 13 ™™ œ œ œ œ œ œ œ œ œ ≈ œ œ œ 14 ™ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ™ /

R L R L R L

R L

R L R L R L L R

L R

L R L R L R

R L

R L R L R L R L R L

L R

R L

R L R

R L R L

sub. p

> 17 ™™ œ Œ Ó

‘

L R L

molto cresc.

Double Strokes 1

/ ™™ œ œ œ ≈ œ œ œ œ œ ≈ œ œ R

œ œ œ ≈ œ œ œ œ œ ≈ œ œ

mf - f OPTIONAL:

> Stick clicks > > > > > 11 œ ¿ ¿ ¿ œ œœ≈œœ Œ ≈ > >> >> >

Both hands together!

> > ≈ œ œ œ œ œ ≈ œ œ ™9 œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ≈ ™ / ≈ ≈ > >

‘

sub. p

Buzz Strokes & Accent/Tap 2 mmm m- j 3 j Œ ¿ œ œ ¿œœ ¿ œ œ ¿ ¿ ¿ œ ¿ 1

/ Ó

> Make it last! m Œ / ˙

r R

l R

¿ œ

m¿ œ œ

> > > / œ œ œ œ œ œ œ œ L

mœ

•

> > > œ œœœ œ œ œ œ

¿ œ

mœ

mj ¿ ¿ ¿ œ

¿j

‘

R r l r R r l r l R L

•

> > > > œ œ œ œ œ œ œ œ œ œ œ L

> > >> œ œœœ œ œœœœœ œ

‘

R r l r R r r R

> Make it last! m ˙ Ó L

Chicken & a Roll accel. 1

7 œ7 œ7 œ72 ™ œ œ œ œ œ ™ / R

‘

Play 4 times Play 4 times > 9 11 7 7 7 7 7 7 7 7 7 7 7 7 7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ7 œ7 œ7 ™™ œ Œ Ó 4

Time to Jam!

Divisi (split parts) Group A rim

For added fun, try "air drumming" the 'x' noteheads!

> > > >> > ¿ ¿ ¿ ¿ œ œ œ œ œ œ œ œ ™ œ œ œ œ ¿œ œ ¿œ œ 4 ™¿ ¿ / ¿ ¿ ¿ ¿ rim > > >>>> Group B 3

> > > > 8 > > > > > > > > 9 > > > > > 10 > > > "Hoo!"^ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿ ¿ ¿ ¿ œ œ œ Œ œœ Tutti (all together!)

‘

R L R L R L R L

R L R

BOTH

FIVE MINUTE DRILL

FIVE MINUTE

FIVE MINUTE DRILL KEYBOARD

FIVE MINUTE Major Scale Breakdown Exercises CIR

CL E OF 4THS

This next section serves as an introduction to all twelve major diatonic scales. Using the Circle of 4ths (left), we will start with the basic key of C Major and proceed around in clockwise fashion until all twelve major keys have been covered. The exercises work each scale in both stepwise motion and in an arpeggiated fashion. Using the tracks on your CD-ROM, work each scale until you have mastered it and then move to the next.

DRILL Use the small, two-octave keyboard diagram at the top of each page as a reference point for which bars to strike for that particular scale. White dots illustrate the arpeggio.

GENERAL

TECHNIQUE

TIPS

• Keep mallet heights and grip consistent. • The motions and strokes you make should be consistent.

• Stay off the nodes (the part where the string goes through the bar). • Notice the shape the scale makes.

FIVE MINUTE DRILL

C Major

CIR

CL E OF 4THS

A E

Db Gb

No Flats / No Sharps

∑

& TIP of the

Be sure to use a relaxed legato stroke. A fluid motion goes a long way!

DAY

Play- 25 - SLOW – 92 bpm (01’47”) along 26 - MEDIUM – 104 bpm (01’35”) Tracks 27 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY"

FOUR-NOTE

Arpeggio

& œœœœœœœœ R L R L R L R L

TWO-NOTE

R L R L R L R L

R L R R L R L R

"READY" "GO!"

œœœœœœœœ œœœœœœœœ R L R L R L R L

V V V V

"READY" "GO!"

œœœœœœœœ œ Œ Ó

R L R R L R L R

L R L R L R L R

V V V V

Scale

"READY" "GO!"

& œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó

R L R L R L R L

Arpeggio

& œ œ œ œ œ œ œ œ

ONE-NOTE

R L R L R L R L

& 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 Ó

& œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ R L R L R L R L

"GO!"

Paradiddle Turnaround

Scale

R R L R L R L R

œ œ œ œ œ œ œ œ

& ™™

œ L

"READY" "GO!"

Arpeggio

Scale 27

L R L R L R L R

V V V V

œ œ œ œ œ œ œ R

™ ™ œ œ œ œ œ œ ™ ™œ L

œ œ œ R

œ œ ™™ œ L

KEYBOARD – MAJOR SCALE BREAKDOWN EXERCISES

E OF 4TH RCL

F Major

A E Gb

One Flat

TIP of the

∑

If you use a big mallet height, you will build “muscle memory” more quickly. This will make life easier for you, so feel free to “play out!”

DAY

Play- 28 - SLOW – 92 bpm (01’47”) along 29 - MEDIUM – 104 bpm (01’35”) Tracks 30 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY"

FOUR-NOTE

œœœœœœœœ œœœœœœœœ &b 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 L R L R L

Paradiddle Turnaround

Scale

R L R L R L R L

R L R R L R L R

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ Œ Ó L

"READY" "GO!"

V V V V

Arpeggio

œœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó &b œ œ œ œ œ œ œ œ œ œ œ œ

"READY" "GO!"

R L R L R L R L

TWO-NOTE

R L R L R L R L

R L R R L R L R

L R L R L R L R

V V V V

Scale

œœœœ œœœœœœœœ œœ œœœœœœ œ Œ Ó &b œ œ œ œ œ œ œ œ œ œ œ œ

R L R L R L R L

Arpeggio

œ œ &b œ œ œ œ œ œ L

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

ONE-NOTE

"GO!"

Scale

V V V V

"READY" "GO!"

œ œ ™™ œ Œ

Arpeggio

œ œ œ œ œ œ œ œ ™™ ™™ œ & b ™™ œ œ œ œ œ œ

"READY" "GO!"

œ œ œ R

B b Major

FIVE MINUTE DRILL

CIR

CL E OF 4THS

b b & TIP of the

b &b

FOUR-NOTE

b &b

R L R L R L R L

b &b

R L R L R L R L

R L R R L R L R

"READY" "GO!"

V V V V

"READY" "GO!"

Œ Ó œœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœœ œ R L R L R L R L

R L R R L R L R

L R L R L R L R

V V V V

Scale

"READY" "GO!"

Œ Ó œœœœœœ œœœœœœœœ œœœœœœ œ œ œ œ œ œ œ œ œœ œœ œ R L R L R L R L

Arpeggio

œ œ œ œ œ œ œ œ

R R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

™™ ™™ ™™ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Scale

b & b ™™

L R L R L R L R

V V V V

Arpeggio

R L R L R L R L

Paradiddle Turnaround

R L R L R L R L

TWO-NOTE

œœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ

b &b

ONE-NOTE

"READY" "GO!"

b Œ Ó &b 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

(Drum intro)

Scale

R L R L R L R L

∑

Play- 31 - SLOW – 92 bpm (01’47”) along 32 - MEDIUM – 104 bpm (01’35”) Tracks 33 - FAST – 116 bpm (01’25”)

b &b

As you start playing more flats or sharps (black keys on the piano), be sure you are playing in the center of the bars for these notes, too!

DAY

A E

Two Flats

Arpeggio

E b Major

KEYBOARD – MAJOR SCALE BREAKDOWN EXERCISES

CIR

CL E OF 4THS

A E Gb

b b & b

Three

TIP of the

Flats

∑

Scales that use a mixture of naturals (white keys) and accidentals (black keys) can begin to get in the way of an efficient stroke. Make sure you are continuing to use a fluid motion.

DAY

b &b b

Play- 34 - SLOW – 92 bpm (01’47”) along 35 - MEDIUM – 104 bpm (01’35”) Tracks 36 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY" "GO!"

FOUR-NOTE

R L R L R L R L

R L R R L R L R

b &b b 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 Ó L

"READY" "GO!"

V V V V

Arpeggio

b œœœœ œœœœœœœœ &b b œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ Œ Ó

R L R L R L R L

TWO-NOTE

R L R L R L R L

R L R R L R L R

L R L R L R L R

"READY" "GO!"

V V V V

Scale

b œœ œœœœœœœœ œœ &b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ Œ Ó

R L R L R L R L

Arpeggio

œ œ b &b b œ œ œ œ œ œ

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

V V V V

"READY" "GO!"

œ œ œ œ œ œ b œ œ œ ™™ ™™ œ œ œ & b b ™™ œ œ œ œ œ œ œ œ ™™ œ Œ

ONE-NOTE

b œœœœ œœœœœœœœ &b b 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 L R L R L

Paradiddle Turnaround

Scale

Arpeggio

Ab Major

FIVE MINUTE DRILL

CIR

CL E OF 4THS

bb b & b

TIP of the

b & b bb

(Drum intro)

"READY" "GO!"

œœœœ œœœœœœœœ œœœœœœœœ bbb œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œœœœ & R L R L R L R L

FOUR-NOTE

Paradiddle Turnaround

Scale

R L R L R L R L

R L R R L R L R

b œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ Œ Ó & b bb L

"READY" "GO!"

V V V V

bbb œœœœœœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó œ œ œ œ b œ œ œ œ &

Arpeggio

R L R L R L R L

R L R R L R L R

L R L R L R L R

"READY" "GO!"

V V V V

Scale

bbb 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 Ó b &

"READY" "GO!"

TWO-NOTE

R L R L R L R L

ONE-NOTE

R L R L R L R L

bb œ œ œ œ &b b œ œ œ œ

Arpeggio

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

V V V V

L "READY" "GO!"

œ œ œ œ œ œ œ œ œ œ ™ ™ œ œ œ œ ™ bbb ™ œ œ œ œ b ™ ™ ™ ™ œ Œ œ œ &

∑

Play- 37 - SLOW – 92 bpm (01’47”) along 38 - MEDIUM – 104 bpm (01’35”) Tracks 39 - FAST – 116 bpm (01’25”)

Try using the motion after you strike the bar to move the mallet toward its next note. In other words, think horizontally and vertically.

DAY

A E

Four Flats

Scale

Arpeggio

D b Major

KEYBOARD – MAJOR SCALE BREAKDOWN EXERCISES

CIR

CL E OF 4THS

A E Gb

bb b & bb

Five Flats

TIP of the

∑

Are you getting the same quality of sound out of all your notes? Are you hitting each bar with the same velocity and energy?

DAY

b & b bbb

Play- 40 - SLOW – 92 bpm (01’47”) along 41 - MEDIUM – 104 bpm (01’35”) Tracks 42 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY" "GO!"

FOUR-NOTE

R L R L R L R L

R L R R L R L R

b & b bbb 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 Ó L

"READY" "GO!"

V V V V

Arpeggio

b œœœœ œœœœœœœœ & b bbb œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ Œ Ó

R L R L R L R L

TWO-NOTE

R L R L R L R L

R L R R L R L R

L R L R L R L R

"READY" "GO!"

V V V V

Scale

b & b bbb 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 Ó

R L R L R L R L

Arpeggio

bb &b b b œ œ œ œ œ œ œ œ

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

V V V V

"READY" "GO!"

b & b bbb ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ ™™ œ Œ

ONE-NOTE

b & b bbb 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 L R L R L

Paradiddle Turnaround

Scale

Arpeggio

Scale

G b Major

FIVE MINUTE DRILL

CIR

CL E OF 4THS

bbb b & bb

TIP of the

DAY

Take note of whether you are using an extra motion when you play (e.g., prep strokes or bouncing during the rebound). Use only the minimum amount of motion to efficiently strike the bar.

b & b bbbb

(Drum intro)

"READY" "GO!"

FOUR-NOTE

R L R L R L R L

R L R R L R L R

"READY" "GO!"

V V V V

Arpeggio

b œœœœœœœœ œœœœœœœœ œœœœ & b bbbb œ œ œ œ œ œ œ œ œœœœ œ Œ Ó R L R L R L R L

R L R L R L R L

R L R R L R L R

L R L R L R L R

"READY" "GO!"

V V V V

Scale

b œœœœœœ œœœœœœœœ œœœœœœ & b bbbb œ œ œ œ œ œ œ œ œ œ œœ œ Œ Ó

TWO-NOTE

R L R L R L R L

b œœœœœœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó & b bbbb

R L R L R L R L

Arpeggio

œ œ b & b bbbb œ œ œ œ œ œ

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

V V V V

"READY" "GO!"

œ œ œ œ œ œ œ œ œ œ bbb b ™ œ œ œ ™ ™ œ œ œ ™™ œ Œ b ™ ™ ™ œ œ & b œ œ

ONE-NOTE

œœœœ œœœœœœœœ œœœœœœœœ b & b bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R L R L R L R L

V Paradiddle Turnaround

Scale

∑

Play- 43 - SLOW – 92 bpm (01’47”) along 44 - MEDIUM – 104 bpm (01’35”) Tracks 45 - FAST – 116 bpm (01’25”)

A E

Six Flats

Scale

Arpeggio

KEYBOARD – MAJOR SCALE BREAKDOWN EXERCISES

CIR

B Major

CL E OF 4THS

A E Gb

#### & #

Five Sharps

TIP of the

∑

Be sure to keep your stick heights equal to achieve an equal volume. When you strike an accidental, be sure the note doesn’t “pop out” or sound too soft.

DAY

## & # ##

Play- 46 - SLOW – 92 bpm (01’47”) along 47 - MEDIUM – 104 bpm (01’35”) Tracks 48 - FAST – 116 bpm (01’25”)

## & # ##

FOUR-NOTE

#### & #

R L R L R L R L

R L R R L R L R

#### & #

V V V V

"READY" "GO!"

Œ Ó œœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœœ œ R L R L R L R L

R L R R L R L R

L R L R L R L R

V V V V

Scale

"READY" "GO!"

Œ Ó œœœœœœ œœœœœœœœ œœœœœœ œœœœœœœœ œœ œœ œ R L R L R L R L

Arpeggio

œ œ œ œ œ œ œ œ

#### ™ & # ™

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

V V V V

"READY" "GO!"

™™ ™™ ™™ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

"READY" "GO!"

Arpeggio

R L R L R L R L

œœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ

## & # ##

Paradiddle Turnaround

R L R L R L R L

TWO-NOTE

## Œ Ó & # ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ

ONE-NOTE

"READY" "GO!"

Scale

R L R L R L R L

(Drum intro)

Scale

Arpeggio

FIVE MINUTE DRILL

E Major

CIR

CL E OF 4THS

A E Gb

#### &

Four Sharps

TIP of the

∑

When you feel comfortable with your scales, try playing them dynamically. Crescendo as the scale ascends and decrescendo as the scale descends. (Also try the opposite way!)

DAY

## &##

Play- 49 - SLOW – 92 bpm (01’47”) along 50 - MEDIUM – 104 bpm (01’35”) Tracks 51 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY" "GO!"

FOUR-NOTE

## &##

Arpeggio

œœœœœœœœ R L R L R L R L

#### &

TWO-NOTE

R L R L R L R L

R L R R L R L R

#### &

œœœœœœœœ œœœœœœœœ R L R L R L R L

V V V V

"READY" "GO!"

œœœœœœœœ œ Œ Ó

R L R R L R L R

L R L R L R L R

V V V V

œœœœœœ œœœœœœœœ œœœœ œ œ œ œ œ œ œ œ œœœœ œ Œ Ó œœ R L R L R L R L

"READY" "GO!"

Scale

R L R L R L R L

Arpeggio

œ œ œ œ œ œ œ œ

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

V V V V

"READY" "GO!"

#### ™ œ œ œ œ œ œ ™œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ & œ ™™ œ Œ

ONE-NOTE

R L R L R L R L

#### œ œ œ œ œ œ œ œ œœ œœœ œœ œ œ œœ œœœ œœ œ Œ Ó &

## œœœœœœœœ œœœœœœœœ & ##œœœœœœœœ œœœœœœœœ œœœœœœœœ R L R L R L R L

V Paradiddle Turnaround

Scale

Arpeggio

KEYBOARD – MAJOR SCALE BREAKDOWN EXERCISES

CIR

A Major

CL E OF 4THS

A E Gb

### &

Three Sharps

TIP of the

∑

Are you staying relaxed? Are you using only the necessary motion? No matter how advanced the percussionist, the best ones are continually evaluating their motions.

DAY

## &#

Play- 52 - SLOW – 92 bpm (01’47”) along 53 - MEDIUM – 104 bpm (01’35”) Tracks 54 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY" "GO!"

FOUR-NOTE

R L R L R L R L

R L R R L R L R

"READY" "GO!"

V V V V

### œœœœœœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó œ œ œ œ œ œ œ œ & Arpeggio

R L R L R L R L

R L R R L R L R

L R L R L R L R

"READY" "GO!"

V V V V

### œœœœœœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó œ œ œ œ œ œ œ œ &

TWO-NOTE

R L R L R L R L

### 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 Ó &

Scale

R L R L R L R L

œ œ ### œ œ œ œ & œ œ

Arpeggio

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

V V V V

L "READY" "GO!"

### ™ œ œ œ œ œ œ œ œ œ œ ™ ™ œ œ œ œ ™ œ œ œ œ ™ ™ ™ ™ œ Œ œ œ &

ONE-NOTE

### œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & R L R L R L R L

Paradiddle Turnaround

Scale

Arpeggio

Scale

FIVE MINUTE DRILL

D Major

CIR

CL E OF 4THS

A E B

## &

Two Sharps

TIP of the

∑

FULCRUM CHECK: Let the point where the index finger and thumb meet on the mallet be the main focal point of your grip, but let your back three fingers help carry some of the weight of the mallet.

DAY

# &#

Play- 55 - SLOW – 92 bpm (01’47”) along 56 - MEDIUM – 104 bpm (01’35”) Tracks 57 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY" "GO!"

FOUR-NOTE

TWO-NOTE

# &#

Arpeggio

# &#

Scale

œœœœœœœœ R L R L R L R L

R L R L R L R L

R L R R L R L R

R L R L R L R L

# &#

œœœœœœœœ œœœœœœœœ R L R L R L R L

"READY" "GO!"

V V V V

"READY" "GO!"

œœœœœœœœ œ Œ Ó

R L R R L R L R

L R L R L R L R

V V V V

Œ Ó œœœœœœ œœœœœœœœ œœœœœœ œœœœœœœœ œœ œœ œ R L R L R L R L

Arpeggio

œ œ œ œ œ œ œ œ

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

"READY" "GO!"

V V V V

"READY" "GO!"

# & # ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ ™™ œ Œ

ONE-NOTE

R L R L R L R L

# &#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 Ó

# &#œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ R L R L R L R L

Paradiddle Turnaround

Scale

Arpeggio

KEYBOARD – MAJOR SCALE BREAKDOWN EXERCISES

CIR

G Major

CL E OF 4THS

A E Gb

One Sharp

TIP of the

∑ GRIP CHECK! 3. Fingers are wrapped around the stick. 4. It should feel relaxed.

1. Thumbs are flat. 2. Hands are flat.

DAY

Play- 58 - SLOW – 92 bpm (01’47”) along 59 - MEDIUM – 104 bpm (01’35”) Tracks 60 - FAST – 116 bpm (01’25”)

(Drum intro)

"READY"

FOUR-NOTE

R L R L R L R L

R L R R L R L R

"READY" "GO!"

V V V V

Arpeggio

œœœœœœœœ œœœœœœœœ œœœœ & œœœœœœœœ œœœœ œ Œ Ó #

R L R L R L R L

R L R R L R L R

L R L R L R L R

"READY" "GO!"

V V V V

Scale

œœœœœœ œœœœœœœœ œœœœ œ œ œ œ œ œ œ œ œœœœ œ Œ Ó & œœ

TWO-NOTE

R L R L R L R L

#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 Ó &

R L R L R L R L

Arpeggio

œ œ œ œ œ œ & œ œ

ONE-NOTE

# œœœœœœœœ œœœœœœœœ œœœœœœœœ & œœœœœœœœ œœœœœœœœ R L R L R L R L

Paradiddle Turnaround

Scale

"GO!"

R R L R L R L R

L R L R L R L R

œ œ œ œ œ œ œ œ

Scale

V V V V

"READY" "GO!"

Arpeggio

œ œ # ™ œ œ œ œ œ œ œ œ œ œ œ ™ ™ œ œ œ ™™ œ ™ ™ ™ œ œ & œ œ

"READY" "GO!"

FIVE MINUTE DRILL

MAJOR SCALES Full Sequence

Okay. Now that you’ve mastered the scale breakdowns of the previous section, you’re ready to roll into the FULL sequence for all twelve major scales. This sequence is presented with two variations—a one-octave version and a two-octave version—both of which can be played simultaneously. If you’re a beginner, start with the top staff (one-octave version). More experienced players may choose to play the two-octave version presented on the lower staff. Note that on the two-octave version, the hand that plays an accidental will switch in the second octave!

(Drum intro)

Play- 61 - SLOW – 100 bpm (04’25”) 4 One along 62 - MEDIUM – 112 bpm (04’06”) Octave & 4 Tracks 63 - FAST – 124 bpm (03’40”)

"READY" "GO!"

C Major One Octave

œ œ œ œ œ œ

& œ

œ œ œ œ œ œ

Two Octave

One

œ L

Two

&b œ &b œ

Two

&b œ L

œ œ

œ œ L

œ œ œ œ œ œ

L R L R L R œ œ œ œ œ œ

œ œ œ R

œ œ L

œL L

œ œ œ œ œ œ R

œ œ œ œ œ œ

"READY" "GO!"

œ œ œ œ œ œ

œL L

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

&b œ

œ œ

One

œ œ œ

F Major

Two Octave

œ œ œ

& œ

One Octave

œ œ œ œ œ œ

œR œL œR œL œR L œ

œ œ œ œ œ œ

"READY" "GO!"

bb bb

KEYBOARD – MAJOR SCALE FULL SEQUENCE

Bb Major

One Octave

Two Octave

b &b

œ œ œ œ œ œ œ

b &b

One

Two

b &b b &b

œ œ œ

œ œ

œ œ œ œ œ œ œ

b &b b œ

œ œ œ œ œ œ œ

b &b b œ L

b &b b œ

œ œ œ

œ œ

œ L œ

œ œ

œ œ œ

œ œ œ œ œ œ œ

œ œ

œ œ œ L

bbb

"READY" "GO!"

œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ œ

œ œ œ

b &b b œ

Two

One

œ œ

Eb Major

Two Octave

œ œ œ

One Octave

œ œ œ œ œ œ œ L R L R L R L œ œ œ œ œ œ œ

bbb

œ œ œ œ œ œ œ L R L R L R L 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

œ œ œ œ œ œ œ L

œ œ

bbbb

"READY" "GO!"

œ œ œ œ œ œ

bbbb

Ab Major

One Octave

Two Octave

b & b bb

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 L R L R L R L R L R L R L R L R L R L R L R L R L R L R œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ & b bb œ œ œ œ œ œ œ œ œ œ œ œ L

One

Two

b & b bb b & b bb

œ œ œ

œ œ

œ œ œ

œ œ

œ L œ L

œ œ œ R

œ œ L

"READY" "GO!"

bbbbb bbbbb

FIVE MINUTE DRILL

Db Major One Octave

Two Octave

bb &b b b 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 L R L R L R L R L R L R L R œL œR œL œR L R L R L R L R L R œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ &b b b œ œ œ œ œ œ œ œ L

One

bb &b b b œ

œ œ œ

Two

bb &b b b œ

œ œ L

œ œL

œ œ

œ œ œ

œ œ œ œ œ œ R

œ œ

bbbbbb

"READY" "GO!"

bbbbbb

Gb Major

One Octave

Two Octave

b & b bbbb

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 L R L R L R L R L R L R L R L R L R L R L R L R L R L R œ œ œ b œ œ œ œ œ œ œ œ œ œ & b bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ L

One

Two

b & b bbbb b & b bbbb

œ L

œ œ œ

œ œ

œ œ œ

œ œ

œ L œ L

œ œ œ R

œ œ L

œ œ œ R

#### #

"READY" "GO!"

œ œ

B Major

One Octave

Two Octave

#### & #

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

One

Two

## & # ## #### & #

œ œ œ

œ œ

œ œ œ

œ œ L

œ L œ L

œ œ œ

œ œ

œ œ œ R

œ œ L

œ L

"READY" "GO!"

#### ####

KEYBOARD – MAJOR SCALE FULL SEQUENCE

E Major

One Octave

Two Octave

# ## 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 L R L R L R L R L R L R L R œL œR œL œR L R L R L R L R L R œ œ œ œ œ œ œ œ #### œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ L

One

Two

# ## &# œ # ## &#

œ œ œ

œ œ L

œ œ œ

œ œL

œ œ

œ œ œ R

œ œ

###

"READY" "GO!"

A Major

One Octave

Two Octave

## &#

œ œ œ œ œ œ œ œ œ œ œ œ œ œ R L R L R L R L R L R L R L œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ L

### &

œ L

One

Two

## &#

œ œ œ

## &#

œ œ

œ œ œ

œ L œ

œ œ

œ œ œ œ œ œ

"READY" "GO!"

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

D Major

One Octave

# &#œ L

Two Octave

# &#œ

œ œ œ œ œ œ œ R

Two

# &#œ # &#

œ œ œ œ œ œ œ

One

œ œ œ

œ œ œ œ L

œ œL L

œ œ œ œ œ œ œ L R L R L R œL 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

œ œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ L

"READY" "GO!"

# # 37

FIVE MINUTE DRILL

G Major One Octave

Two Octave

& &

# #

œ L

œ œ œ œ œ œ œ

One

Two

& &

# #

œ L

œ œ œ œ œ œ

œ L œ

œ œ œ œ œ œ

œ L œ

œ œ œ œ œ œ

œ L

œ R

œ œ œ œ œ œ

œ œ œ œ œ œ L

FIVE MINUTE L

DRILL

FIVE MINUTE KEYBOARD Chromatic Scale Sequences

DRILL Here lies an introduction to chromatic scales on the keyboard. The exercises are presented in small, bite-sized motions at first—one hand at a time, one beat at a time—and then in a real context with the hands working together in larger and larger beat groupings.

FIVE MINUTE Two chromatic scales are presented—C and F—so students can learn the basics and then duplicate the process using a slightly different “flight plan.” Practicing these two sequences will build the dexterity necessary to play any chromatic scale. You can work on the breakdown exercises with the play-along tracks either individually or combine them all for the Full Sequence.

GENERAL

TECHNIQUE

TIPS

• Keep mallet heights and grip consistent. • See the scale through its anchor points.

• Pay attention to where you are striking the bars. • Follow the stickings.

FIVE MINUTE DRILL

Chromatic Scales – C

BREAKDOWN ONE

BREAKDOWN

ONE

One Beat (Up, then Down) This exercise breaks up the chromatic scale one beat at a time one hand at a time over one octave—first up, then down. Keep a consistent quality stroke and pay attention to the shape your hands make. Get to know the “anchor points” (i.e., start/stop points from one short phrase to the next).

2 3 4 4 4 &4 V V V V V V V V V V V V V V V V 4

Play- 64 - SLOW – 96 bpm (00’46”) along 65 - MEDIUM – 104 bpm (00’43”) Tracks 66 - FAST – 120 bpm (00’37”) 1

4 &4 4 &4

2 œ #œ #œ 4 #œ #œ

# œ #œ L

4-bar groove intro…

4 & ™™4

2 4œ œ Œ

œ œ #œ œ #œ

4 œ bœ bœ 4

2 4 #œ œ #œ œ œ R

2 4œ

œ bœ

2 4 bœ bœ Œ

4 4

2 4 œ bœ œ bœ œ

4 4

4 œ œ bœ œ bœ bœ 4 œ bœ œ œ

bœ bœ

4œ œ 4 œ

œ # œ œ #œ œ L

"READY" "GO!"

™™

BREAKDOWN TWO Two-Beat (with “turnaround”) This exercise breaks up the chromatic scale by creating a “turnaround.” Notice again where the anchor points are. Your hands move up and down the same notes, so remember that when planning your mallets’ flight path!

BREAKDOWN

TWO

Play- 67 - SLOW – 96 bpm (00’34”) along 68 - MEDIUM – 104 bpm (00’32”) Tracks 69 - FAST – 120 bpm (00’29”)

3 &4 V

Groove intro

"READY"

"GO!"

bœ

"Turnaround" 1

& œ

#œ

bœ

‰

œ J

& ™™ œ # œ œ #œ œ œ #œ œ #œ R

#œ œ #œ œ œ œ bœ nœ bœ R

bœ œ bœ œ œ bœ œ bœ œ R

™™

KEYBOARD – CHROMATIC SCALE SEQUENCES

BREAKDOWN THREE One Octave (Up, then Down) This exercise will take you all the way up the chromatic scale, stopping at the top. Recall the anchor points from the previous breakdowns!

BREAKDOWN

THREE

4 &4 V

Groove intro

Play- 70 - SLOW – 96 bpm (00’32”) along 71 - MEDIUM – 104 bpm (00’31”) Tracks 72 - FAST – 120 bpm (00’30”) 2

& œ œ œ #œ #œ #œ œ R

& ™™

œ bœ bœ bœ œ œ œ R

œ œ Œ # œ #œ œ œ L

œ #œ œ #œ œ œ œ # œ œ #œ œ œ #œ R

"READY"

"GO!"

Œ œ œ œ œ bœ bœ

œ œ bœ œ bœ œ bœ œ œ bœ œ bœ œ

™™

BREAKDOWN FOUR One Octave (Non-stop) This exercise will take you all the way up and down the chromatic scale without stopping at the top.

BREAKDOWN

FOUR

4 &4 V

Groove intro

Play- 73 - SLOW – 96 bpm (00’45”) along 74 - MEDIUM – 104 bpm (00’42”) Tracks 75 - FAST – 120 bpm (00’40”) 2

& #œ #œ œ bœ bœ bœ œ œ œ œ œ #œ œ R

œ œ œ ‰ œJ # œ #œ œ L

"READY" "GO!"

œ œ œ bœ bœ L

& ™™ œ # œ œ #œ œ œ #œ œ #œ œ #œ œ œ œ bœ nœ bœ œ bœ œ œ bœ œ bœ œ 7

L Repeat 4 times

™™

FULL SEQUENCE

FULL

SEQUENCE

For the Full Sequence, play all of the above breakdowns in one pass!

Play- 76 - SLOW – 96 bpm (02’15”) along 77 - MEDIUM – 104 bpm (02’05”) Tracks 78 - FAST – 120 bpm (01’49”)

FIVE MINUTE DRILL

Chromatic Scales – F

BREAKDOWN ONE

BREAKDOWN

ONE

2 3 4 4 4 &4 V V V V V V V V V V V V V V V V 4

4-bar groove intro…

Play- 79 - SLOW – 96 bpm (00’46”) along 80 - MEDIUM – 104 bpm (00’43”) Tracks 81 - FAST – 120 bpm (00’37”) 1

4 &4 œ œ

œ #œ

4 & 4 #œ #œ #œ

4 & ™™4 œ #œ œ #œ œ R

œ 2 4 #œ #œ

2 4œ

œ #œ œ œ #œ

4 œ bœ bœ 4

4œ œ 4

œ bœ bœ

Playalong Tracks

#œ

& œ

œ L

& #œ

#œ

2 4 bœ bœ Œ

4 4

2 4 œ bœ œ bœ œ

Groove intro

#œ

bœ

‰

œ J

& ™™ œ #œ œ #œ œ #œ œ œ #œ R

3 &4 V

82 - SLOW – 96 bpm (00’34”) 83 - MEDIUM – 104 bpm (00’32”) 84 - FAST – 120 bpm (00’29”) "Turnaround"

4 4

4 œ œ bœ œ bœ bœ œ bœ bœ œ 4 R

™™

Two-Beat (with “turnaround”) This exercise breaks up the chromatic scale by creating a “turnaround.” Notice again where the anchor points are. Your hands move up and down the same notes, so remember that when planning your mallets’ flight path!

TWO

2 4œ

BREAKDOWN TWO

BREAKDOWN

œœ 2 4 #œ œ #œ R

bœ bœ

"READY" "GO!"

V 3

#œ œ #œ œ œ œ bœ nœ bœ R

"READY"

"GO!"

bœ

bœ œ bœ bœ œ bœ œ bœ œ R

™™

BREAKDOWN THREE

KEYBOARD – CHROMATIC SCALE SEQUENCES

One Octave (Up, then Down) This exercise will take you all the way up the chromatic scale, stopping at the top. Recall the anchor points from the previous breakdowns!

BREAKDOWN

THREE

4 &4 V

Play- 85 - SLOW – 96 bpm (00’32”) along 86 - MEDIUM – 104 bpm (00’31”) Tracks 87 - FAST – 120 bpm (00’30”) 2

#œ œ & œ œ œ œ #œ R

Groove intro

œ bœ bœ bœ œ œ œ R

œ œ œ Œ #œ #œ #œ

œ œ & ™™ œ #œ œ #œ œ #œ œ œ #œ œ #œ R

"READY"

"GO!"

œ œ œ bœ bœ bœ Œ

œ œ bœ œ bœ œ bœ bœ œ bœ œ bœ œ R

™™

BREAKDOWN FOUR One Octave (Non-stop) This exercise will take you all the way up and down the chromatic scale without stopping at the top.

BREAKDOWN

FOUR

4 &4 V

Groove intro

Play- 88 - SLOW – 96 bpm (00’45”) along 89 - MEDIUM – 104 bpm (00’42”) Tracks 90 - FAST – 120 bpm (00’40”) 2

œ bœ 3 bœ bœ # œ # œ œ œ œ œ œ & œ œ R

œ œ ‰ œJ #œ #œ #œ œ L

"READY" "GO!"

œ œ bœ bœ bœ L

œ œ œ bœ nœ 7bœ œ bœ bœ œ # œ ™ œ # œ œ œ bœ œ bœ œ & ™ œ #œ œ #œ œ #œ R

L Repeat 4 times

™™

FULL SEQUENCE

FULL

SEQUENCE

For the Full Sequence, play all of the above breakdowns in one pass!

Play- 91 - SLOW – 96 bpm (02’15”) along 92 - MEDIUM – 104 bpm (02’05”) Tracks 93 - FAST – 120 bpm (01’49”) 43

FIVE MINUTE DRILL

FIVE MINUTE

DATA TRACKING

DRILL TOOLS

FIVE MINUTE

We believe a solid practice routine is key to making real progress in any endeavor, musical or otherwise. Most seasoned educators, coaches, personal trainers, dieticians—you name it—acknowledge data tracking as a fundamental tool on the path to achieving mastery. For this reason, we have included a couple data tracking tools to help you make this a healthy habit of your own! To access these tools, open the folder called “Data Tracking Tools” on your CDROM and locate the two printable PDF charts inside. Print as many of them as you like and as often as you need!

DRILL

Remember that these tools will only be as helpful as the consistency with which you use them. Recording your progress only takes a moment, and those moments over time can help give you a clear picture of how far you’ve come!

FIVE MINUTE DRILL

TEACHERS Progress Chart This chart was designed to be used by the teacher in the classroom and will help track students’ progress on a weekly basis throughout the year. Indicate the speed—S for Slow, M for Medium, F for Fast—of the play-along track you used for a particular exercise in the approrpriate column. We highly recommend starting all new concepts at the Slow speed while having students count out loud.

DATA TRACKING TOOLS

STUDENTS Weekly Practice Log This chart was designed to be used by individual students to help track their daily practice routines and habits. It is based around a 6-day practice regimenâ&#x20AC;Śa day off never hurt anyone! We recommend 30 minutes a day in order to see steady progress. Remember that some practice is better than no practice. If you donâ&#x20AC;&#x2122;t have time to practice for a full 30 minutes, do what you can and log the results anyway. Every little bit helps!

ADDITIONAL RESOURCES FOR CREATIVE TEACHERS AND YOUNG PERCUSSIONISTS

BEYOND BASIC PERCUSSION FOSTERING INDEPENDENCE THROUGH ENSEMBLE PERFORMANCE

by Eric Rath & Ralph Hicks

This practical and fun collection is designed by Eric Rath and Ralph Hicks, both of whom are accomplished band directors AND professional percussionists. Inside you’ll find ten beginning-level percussion ensemble pieces that address the most common obstacles young percussionists and their teachers face in class. These pieces build on skill sets and difficulty as they progress, and each ensemble is creatively written to confront basic percussion challenges such as: • • • • • • • •

Approaching percussion musically Accessory percussion techniques Multipercussion setups Unique sounds, dampening concepts, etc. Sticking patterns on mallet instruments Equipment logistics Latin percussion techniques and more!

This collection is packed with variety and enough educational material to last several semesters and is everything you’ll need to take your percussionists beyond the back of the room and into the music!

The new practice pad from Tapspace™ and Offworld Percussion™ The Tap-Off is a unique, dual-surface drum practice pad. The majority of the playing surface is comprised of a bouncy, specially formulated gum rubber. A dark, oval-shaped surface is located at the 12 o’clock position to provide a secondary playing zone simulating a high tension drum. The two surfaces can be used separately or together to work on hand-to-hand sound quality, independence training, or just having fun!

SIMPLY FOUR 4-Mallet Technique as Easy as 1, 2, 3...4 by Gifford Howarth

PEDAL TO THE KETTLE Etudes and Solos for Timpani by Kirk J. Gay

These days, 4-mallet technique has become an essential requirement for percussion students. “Simply Four” takes away the fear and gives students and teachers a fun method from which to learn.

This book contains some of the most creative modern timpani etudes and solos. Great for beginners, but also progresses to more advanced music as well. Educational and entertaining!