Nine Minute Drill sample

STUDENT NAME:

NINE MINUTE DRILL

THE NEXT LEVEL of Classroom Routines for Percussion Ralph Hicks & Eric Rath

NINE MINUTE DRILL • TSPB-37 © 2017 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.

Cover design by Jesse Mattson.

Interior layout and design by Murray Gusseck.

Photos provided by Ralph Hicks and Robbie Green.

All backing tracks composed by Alex Weinberg (alexwnbrg@gmail.com) except for practice pad tracks #3 and #5, which were composed by Hunter Stricklin (hunterstricklinmusic@gmail.com).

Post-production audio by 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 1 Introduction 2 How to Use This Book 3

PRACTICE PAD Practice Pad

1. Legato Strokes, Dynamics, and Accents 2. 16th-Note Accents, Buzzes, and Timing Patterns 3. Double Strokes and Paradiddles 4. Flam Rudiments 5. Diddles and Singles FULL SEQUENCE

7 9 11 13 15 17

MALLET KEYBOARD Mallet Keyboard 1. Scale Express!

2. Scales & Arpeggios 3. Arpeggios 4. Interval Scales 5. Octaves & Chromatic Motion 6. Green Symmetry 7. Four-Mallet Exercise

23 25 29 31 35 37 43

ABOUT THE AUTHORS Ralph Hicks is a product of the highly successful Spring HS 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 Percussive Arts Society International Vibraphone Solo competition. In 1997 he was a member of the Cavaliers Drum & Bugle Corps and was named a Yamaha Young Performing Artist.

His performing days behind him, Ralph teaches at Mitchell Intermediate in The Woodlands, Texas. He is Founder/Executive Director of “Let Them Drum,” a nonprofit corporation providing recreational and therapeutic drumming opportunities for all ages, abilities, and disabilities and co-owner of The Percussion Studio, providing quality percussion education materials and compositions. In 2012, Mr. Hicks was Mitchell Intermediate’s Teacher of the Year and named Conroe ISD Outstanding Teacher in the Arts by The Woodlands Waterway Arts Council.

Ralph now resides in Magnolia, Texas, with his wife Marcail and two children, Brooklynn and William. He is a member of Phi Mu Alpha Sinfonia, Texas Music Educators Association, the Drum Circle Facilitators Guild, the American Society of Composers, Authors and Publishers, serves on the Education Committee, Diversity Committee and Board of Advisors for the Percussive Arts Society, is endorsed by Innovative Percussion, and is a Remo Recreational Music Partner.

Eric Rath is an active educator, clinician, adjudicator, arranger, and composer. Mr. Rath has served as a band and orchestra director as well as a percussion specialist at the middle and high school levels. Previously Mr. Rath also served as the adjunct percussion instructor at Amarillo College.

As a composer, Mr. Rath has a growing list of original works and arrangements published through FJH Music, Tapspace Publications, The Percussion Studio, and TRN Music. His music has been described as “very exciting for performers and audiences alike.” Mr. Rath’s music has been performed nationally and abroad at the Midwest Clinic, the Texas Music Educators Association Convention, and the International Double Reed Society’s Convention. He and Ralph Hicks are the co-authors of the percussion ensemble collection Beyond Basic Percussion (Tapspace Publications), the snare drum and keyboard fundamentals books Five Minute Drill and Nine Minute Drill (Tapspace Publications), and a multi-use solo and ensemble transcription book The Golden Age of Ragtime (The Percussion Studio).

Mr. Rath is a member of the Amarillo Symphony Orchestra and also regularly performs with the Amarillo Opera. He is an in-demand freelance percussionist and serves on the worship team at his church. Additionally, he is also an alumni member of the Phantom Regiment Drum and Bugle Corps.

Mr. Rath is a proud graduate of West Texas A&M University, where he received both his Bachelor of Music Education and his Master of Arts Degree.

Mr. Rath resides in Canyon, Texas, with his wife Kayla and their children Regan, Grant, McKinley, Jackson, and Harrison. His professional affiliations include the Percussive Arts Society, Texas Music Educators Association, Texas Bandmasters Association, and the American Society of Composers, Authors and Publishers (ASCAP). He is a Yamaha Performing Artist and also an educational artist for Innovative Percussion, Inc. 1

INTRODUCTION Before this book, there was the Five Minute Drill (FMD), which began as a clinic we presented at the 2012 Texas Music Educators Association Convention. Our goal was simple: Show band directors that the proper attention given to percussionists’ fundamentals was just as important as the attention given to the wind players…and it didn’t have to take the entire class period. Once the FMD exercises were learned, percussionists could get their daily dose of snare (practice pad) or keyboard fundamentals in about five minutes.

The response to FMD has been overwhelming. The comments we hear at conventions, emails, or casual conversations with colleagues have gone from “This is great! We love it!” to “This is great! When are you going to do a more advanced version?” And as we ourselves use FMD in our own classrooms, we have also seen that there is in fact a need for a more advanced version of the original FMD. This begs the question: Do you have to have used the FMD in order to understand or benefit from the NINE MINUTE DRILL? No. This book can stand alone on its own merit or be used as a continuation of FMD. So relax! You don’t need to have watched Back to the Future to understand the time-travelling DeLorean or have seen the original Terminator to understand why Arnold Schwarzenegger’s character is suddenly a good guy in Terminator 2.

NINE MINUTE DRILL uses the most common techniques and fundamentals that intermediate percussion students need to work on and presents them in a way that is accessible, engaging, and entertaining. Your students will appreciate that they aren’t simply being “kept busy” while the wind players warm up. With more advanced material, NMD does take a bit longer than its predecessor, but most groups probably have nine minutes or so at the beginning of rehearsal to spare.

While NMD was originally conceived as an alternative to the standard percussion warm-up along with the band, we don’t want to pigeonhole it into a singular use. Certainly there are applications in private lessons or at the collegiate level in percussion methods classes. There are even possibilities in nontraditional educational environments like homeschooling, charter schools, or individual study. Anyone who wants to hone his or her skills can find a use for the NMD. As educators ourselves, we love the NINE MINUTE DRILL and have seen the benefits in our own students. We hope this daily regimen of exercises proves to be as useful and fun for your students as it has been for ours!

2

HOW TO USE THIS BOOK NINE MINUTE DRILL (NMD) is focused on improving fundamentals on snare and mallet keyboard. We included the most common intermediate-level techniques and concepts in the hope that teachers will have an easier job of providing their students with the challenges for today’s developing percussionists. To this end, we realize that many educators will pick and choose what their students work on rather than approach the book systematically. This is a fine approach, and the book was designed to be effective in any context in which it is used.

Ideally, students in band class will work on their NMD exercises at the beginning of class when the woodwinds and brass are working on long tones, lip slurs, chorales, technical scale-based exercises, et cetera. Percussionists often feel that their contribution to this process is akin to busy work. Instead, take your percussionists out to work on NMD. At first you may find that you’ll want more than just the beginning of a class period. It will take some time to properly teach and learn the exercises. But once everyone has a solid grasp of them, the process can be a rewarding use of time that students will look forward to.

We’ve included three play-along tracks for each exercise—slow, medium, and fast—to facilitate the learning process.

These tracks are designed to be fun, engaging, and purposeful in order to enhance the process of learning and refining. A good play-along track serves as a far more interesting metronome, making repetitions of the same material much more tolerable!

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

Have a plan The ultimate goal should be a regular rotation of the NMD exercises and/or sequences. As your students progress through the individual 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).

In addition to school or private lessons, NMD 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 on the CD-ROM provide an easy way to track practice time at home or in the classroom. Students are really busy these days, and a little help in structure and efficiency will be appreciated by both students and parents.

3

Take your time and track your data There is a lot of material to cover within NMD, especially if these techniques are new to players. There are enough track combinations to keep things interesting, so mix it up and try not to rush the process. Start with the slow play-along tracks and use the included Data Tracking Tools (CD-ROM) to record your progress. 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 at first for a young player to follow stickings, 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 will 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 to 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 NMD routines aren’t being used, band directors need to have productive things that percussionists do while the wind players practice their fundamentals. 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 okay. Here are some ideas on how to keep things productive while using the NMD program.

• Have a local university percussion major come in as an intern to work NMD with your students.

• Assign a student leader who can corral the percussionists and lead them through the NMD routines.

• Leave wind students with a rotating group of student conductors to run them through their fundamentals while you run the percussion students through their NMD routines.

4

NINE MINUTE DRILL

PRACTICE

PAD Breakdown Exercises

Let’s get this party started! Begin by practicing each exercise separately while focusing on proper technique and muscle use. There are three different tempo variations of the play-along tracks for each exercise, so use them to build stamina and dexterity. The ultimate goal is to combine all exercises into the full sequence (see page 17).

With the demands of modern high school marching band, it is never too early to incorporate body movement into your drumming. You will occasionally find some recommendations for choreography and/or stick tricks throughout this section, so have fun and be creative. Remember: Drumming with the right energy level can make all the difference. Stay focused, but don’t forget the fun!

Below is a brief overview of the five practice pad exercises just ahead. For the sake of efficiency, most exercises have more than one focus.

PAD #1 – Legato Strokes, Dynamics, and Accents Legato Strokes: Stay relaxed so you can achieve maximum stick height at the top volumes. This is a good time to let the stick do most of the work, so create some space between the stick and your palm to allow this to happen (while maintaining fingers on the stick).

Dynamics: Imagine the changes in your stick heights as if they were plots in a straight line on a graph from your highest to lowest stroke. And remember, low and soft doesn’t mean weak!

Accents: Focus on your stroke types—taps, upstrokes, and downstrokes—and aim for two consistent heights.

5

PRACTICE PAD – EXERCISES

PAD #2 – 16th-Note Accents, Buzzes, and Timing Patterns 16th-Note Accents: Approach these as you did the 8th-note patterns in Pad #1, aiming for two distinct heights.

Don’t try to “place” the accents. Instead, trust your stroke types developed in the previous exercise to deliver the accents in the correct place every time with the same quality of sound.

Buzzes: For buzz roll sections, keep your heights low (don’t let the tip rise too high above the palm) to minimize attack sound, while using some arm in the stroke to get that fat buzz sound. Experiment with changing the back finger pressure until you settle on a buzz quality you like.

Timing Patterns: Keep a 16th-note subdivision going in your head to ensure equal spacing. Don’t settle for “close enough,” but rather be as precise as you can with your interpretations. It will be worth the extra effort!

PAD #3 – Double Strokes and Paradiddles Double Strokes: Using the back fingers to help control the rebound, aim for identical strokes with regard to height and volume. Isolate the motion to the wrist when possible, keeping the arm stroke in reserve for when the speed calls for it (see Diddles below).

Paradiddles: The paradiddle rudiments are broken down around the accent pattern and rebuilt one note at a time. As with the previous accent exercises, go for two distinct heights.

Breakdowns: The paradiddle breakdown lines can get a little tricky if you’re just trying to read straight through them. To gain a better feel for the various breakdowns, work through those lines in a 4-2-1 pattern without the recording (playing each measure 4 times, then 2 times, then as written). This helps to quickly train muscle memory.

PAD #4 – Flam Rudiments A crucial part of developing flam rudiments is understanding the role each hand plays in the various interlocking patterns. The flam rudiments presented in this exercise are flam taps, flam accents, and flam paradiddles, in that order.

Each hand’s pattern is first isolated and played in “double stop” form in order to program the pattern into muscle memory. Match heights during these sections, utilizing the back fingers for greater control.

For your flams to be impressive, they must be consistent. Strive for the same “chut” sound every time with both right- and left-handed flams.

PAD #5 – Diddles and Singles Diddles: Unlike the double strokes of Pad #3, diddles involve more arm to keep the second stroke strong. You want every note to be equal in strength, sound, and feel. This may not happen at first, but stay the course and you’ll get there!

Singles: These are quite fast, so utilize rebound to keep your strokes relaxed. It is also a good idea to hold back on the heights a little bit, especially at the faster tempos.

Whether playing diddles or singles, always aim to be clear enough to hear an exact rhythm and not just a “roll.”

And when you hit the last line of the exercise, pump the arms and go for it!

6

NINE MINUTE DRILL

PAD #1 Legato Strokes, Dynamics, and Accents

QUICK

TIPS

LEGATO STROKES

ACCENTS

Stay relaxed and keep back fingers on the stick.

Keep two distinct heights throughout.

DYNAMICS

Maintain a consistent stroke while imagining a direct line on a graph of the dynamic (height) change.

Play-along SLOW - 120 bpm (2’04”) MEDIUM - 138 bpm (1’48”) tracks FAST - 150 bpm (1’41”)

The symbol will help you identify what to listen for in the play-along track to match the exercise patterns!

AUDIO INTRO & COUNT-IN

4 /4

2

"One…

Œ

LEGATO STROKES - FULL EXTENSION

two…

Œ

Œ

Œ

one

two

Œ

Œ

Bass drum (or “kick” drum)

ready

Œ

GO!"

Œ

(visual to switch hands)

> > > > > > > >2 > > > > > > > >3 > > > > > > > >4 > > > > > > > > 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 ™™ R R R R R R R R L L L L L L L L

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

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

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

f (resting hand by your side)

LEGATO STROKES WITH DYNAMICS

Track dynamics

> 6 7 8 ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ / ™ 5

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

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

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

p 7

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

PRACTICE PAD – EXERCISES

Kick drum / track dynamics

16TH-NOTE PATTERNS WITH DYNAMICS 9

10

11

12

/ ™™ œœœœœ œœœœœ œœœœ œ œœœœœ œœœœœ œ œœœœœ œœœœœ œœœœ œ œœœœœ œœœœœ ™™ R L R L R R L R L R R L R L L R L R L L R L R L L R L R

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

f

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

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

p

Kick drum

8TH-TO-16TH-NOTE TRANSITION

> > > > > > > >14 / ™™ œ œ œ œ œ œ œ œ ‘ 13

15

R R R R L L L L

> > > > > > > >16 >> >> >> >> >> >> >> >> 17 > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 42 œ Œ 44 R R L L R L R L

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

R

f

“Crasher”

ACCENTS & TAPS

(visual to switch hands)

(visual to switch hands)

> > > > > > > > > > > > 18 4 œ œ œ œ œ œ œ œ 19 œ œ œ œ œ œ œ œ 20 œ œ œ œ œ œ œ œ 21 œ œ œ œ œ œ œ œ /4 R

r

r

…

L

l

l

…

mp (resting hand by your side)

Snare drum

ACCENTS & TAPS WITH 16TH NOTES

> > 23 > > > 25 > > > >24 > > > 22 / œ œœœ œ œ œ œ œœ œ œ œ œ œ œœœ œ œ œœœ œ œ œ œ œœ œ œ œ œ œ œœœ œ R

r l r R

r

r

R

r l

r

R

r

r

R

r l r

16TH-NOTE BUILD WITH ALTERNATING STROKES

R

L

l r l

L

l

l

L

l r

l

L

l

l

L

l r l

L

Track dynamics

> >>>>> 27 28 29 / œ œœœœœ œœœœœ œœ œœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœ œ œœœœœ œœœœœ 26

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

R L R L R L R L R L R

fp

f

LEGATO STROKES - REPRISE (Split your feet and bang your head!)

> > > > > > > > 31 / ™™ œœ œœ œœ œœ œœ œœ œœ œœ 30

32

‘

33

‘

4

‘

> ™™ œœ Œ 34

Ó

ff (both hands)

8

NINE MINUTE DRILL

PAD #2Buzzes, and 16th-Note Accents, Timing Patterns

QUICK

TIPS

The symbol will help you identify what to listen for in the play-along track to match the exercise patterns!

16TH-NOTE ACCENTS

TIMING PATTERNS

Same approach as with 8th-note accents.

Make sure you subdivide during rests to ensure all rhythms are accurate.

BUZZES

Pump the arms, keeping heights low.

Play-along tracks

INTRO BUZZES

SLOW - 90 bpm (2’09”) MEDIUM - 104 bpm (1’53”) FAST - 116 bpm (1’42”)

L

mp

4 /4Œ

Œ

Œ

Œ

one

two

Œ

Œ

ready GO!"

Œ

Œ

Rhythm guitar

> > > > 1 7 7 7 œ7 œ œ œ œ 2 œ œ œ œ œ œ œ / R

AUDIO INTRO & COUNT-IN "One… two…

R l r l R L R l r l tenuto markings indicate slight accent

16TH-NOTE ACCENTS

3

4

‘

‘

> > > 7 7 œ œ œœœœœœœœœ R

L

r

l

r

l …

R

p

f

Hi-hat accents

> > > > > > 5 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 œ œ œ œ œ œ œ œ mf

R L

L R

R L

R L

L R

L R

> > > > > > >8 > > > > / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7

R L

R L

R L

TIMING PATTERNS - 2 NOTES

L R

L R

L R

R L

L R

R L

L R

™™

R L

Snare drum

"WOO!" "WOO!" >>>>>> >> >> >> >>>> >> >> > >> > > > > > 9 7œ7œ7œ7œ œ œ œ œ œ ‰ œ œ ‰ 10 ‰ œ œ ‰ œ œ œ œ Œ 11 œ7œ7œ7œ7œ œ œ œ ≈ œ œ ≈ œ œ 12 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 L R

9

R L L R

R L L R

R L R L L R L R

r l r l R L R L l r l r L R L R

L R R L

L R R L

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

PRACTICE PAD – EXERCISES

Snare drum

BUZZES AND ALTERNATE STICKING

> 15 16 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 / œœœœœ œœœœœ Œ œ œ œ œœ œ œ œ œœ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ 13

14

R L R L R L R L R L

R L R L R L R L R L

ff

r l r l …

R

p

f

Tambourine

TIMING PATTERNS - 3 NOTES 17

18

/ ™™ 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

R L

L R

R L

R L

R L

L R

R L

R L

L R

R L

L R

L R

R L

L R

L R

L R

R L

L R

L R

R L

L R

(rim) 19

20

/ 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

R L

R L

L R

R L

SINGLE AND DOUBLE ACCENTS

L R

L R

L R

R L

L R

R L

L R

L R

R L

R L

L R

L R

R L

L R

R L

L R

R L

Snare drum / HH accents

> > > > > > 21 22 / ™™ œ œ œ œ œ œ œ œ 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

mf

R L

R L

L R

R L

L R

> > > > > > 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 ™™ 23

R L

L R

R L

TIMING PATTERN COMBO

L R

R L

L R

R L

L R

R L

L R

R L

L R

R L

Snare drum

>> > > > > 26 > > > > > > > > >27 > > > > > > > > > > > >28 > 25 / œœ‰ ‰ œœŒ œœ‰ œœœ ‰ œœœ œœœ œœœœ‰ œœœœ‰ œœœœ œ Œ Ó R L

R L

R L

R L R

R L R

R L R

R L R L

R L R L

R L R L

R

10

NINE MINUTE DRILL

PAD #3 Double Strokes and Paradiddles

QUICK

TIPS

DOUBLE STROKES

Use the back fingers for a strong second beat of the same height and volume as the first.

PARADIDDLES

BREAKDOWNS

To gain a better feel for the paradiddle breakdowns, try those lines in a 4-2-1 pattern without the recording (i.e., playing each measure 4 times, then 2 times, then as written).

Build the rudiment around the accents.

Play-along SLOW - 96 bpm (2’23”) MEDIUM - 104 bpm (2’14”) tracks FAST - 116 bpm (2’00”)

The symbol will help you identify what to listen for in the play-along track to match the exercise patterns!

AUDIO INTRO & COUNT-IN

2

4 /4

‹j ‰

/ ‰

two…

Œ

Œ

‹j ‰

‹j ‰

DOUBLE STROKES - UNISON

two

Œ

Œ

Œ

ready

GO!"

Œ

Œ

‹j

2

3

‘

4

‘

‹

Œ

Ó

Repinique (high-pitched Brazilian drum)

5

6

/ ™™ œœ œœ œœœœ œœ≈ œœ œœœœ œœ f

Œ

one

Stick clicks

STICK CLICK INTRO 1

"One…

7

‘

> > > (visual) ™™ œœ œœ œœœœ œœœœ œœœœ≈ œœœœ œœ œœ œœ Ó 8

(both hands)

SINGLE PARADIDDLE BREAKDOWN

Congas

(single paradiddles)

> > > > > > > 10 > > > > 11 > > > > 12 > 9 / œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œ œ œœ œ œœœ œœ œ œœœ œœ œœ œœœ œœ œœœ œœœ œœ œ R r L l R r L l

mf 11

R l r L r l R l r L r l

R r r L l l R r r L l l

R l r r L r l l R l r r L r l l

PRACTICE PAD – EXERCISES

Congas

DOUBLE PARADIDDLE BREAKDOWN

(double paradiddles)

> > 14 > > > 15 > > > 16 > > > > / œ œ œ œ œ œ œ œ œœœ œ œœœ œ œ œ œ œ œœœ œ œœœ œ œœœœœœœœœœœœœ 13

R r

r

L

l

l R

l

R l r

r

L r l

l R l

R r

r r L

l

l l R

l

R l r l r r L r l r l l R

Congas

PARADIDDLE-DIDDLE BREAKDOWN

(paradiddle-diddles)

> > 18 > > > 19 > > > 20 > > > > ™ / ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 17

R r r R r L l l L l

r R l l L r

R l r L r l

r R l r l L r l

r R l l L r

R r r l R r r l R l L l l r L l l r L r

SPLIT PARTS Group A—stick clicks; Group B—double-stops on the rim (switch on repeat)

Œ ‹ ‹ ‹ / ™™ ‰ ¿¿J ¿¿ ¿¿ ¿¿ ≈ ¿¿ ¿¿ ¿¿ ¿¿ 21

Cue

22

23

24

‘

‘

3

> > > >> 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 œ

∑

/

>> >> >> >> ‰ œœœœ ‰ œœœœ ‰ œœœœ‰ œœœœ ™™

Congas

> > > PARADIDDLE RUDIMENT RECAP œ œ œ œ œ œ™ V V V 26 > > > 25 œ 3

R l r r l l R l r r l l R L r l l r r L r l l r r L

R l r r L r l l R l r r L r l l L r l l R l r r L r l l R l r r

R l r r l l R l r r l l R L r l l r r L r l l r r L

L R

> > > > > > > 29 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 28

R L

l r

r l

r l

L R

r l

l r

DOUBLE STROKES REPRISE

l r

R L

l r

r l

r l

L R

r l

S.C. (or air drum)

>> >> >> >>‹ ‹ 30 / œœœœ œœœœ œœœœ≈ œœœœ

31

32

‘

l r

l r

R L

l r

r l

l r

r l

r l

L R

r l

l r

r l

l r

l r

™™

R L

> > > > > > > > > > > 33 > ‹ ‹ > ‹ ‹ > œœœœ œœœœ œœœœ≈ œœœœ œœœœ œœ œœ œœ œœ 12

NINE MINUTE DRILL

PAD #4 Flam Rudiments

QUICK

TIPS

• Match double-stop heights.

• Use the back fingers to control the rebound.

• Consistent “chut” sound for all flams.

Play-along SLOW - 144 bpm (1’49”) MEDIUM - 160 bpm (1’38”) tracks FAST - 172 bpm (1’32”)

The symbol will help you identify what to listen for in the play-along track to match the exercise patterns!

AUDIO INTRO & COUNT-IN

2

4 /4

"One…

Œ

> > 2 / œœœœœœ œœœœœœ 1

/ ™™ Œ

Œ

Œ

> œ œ R L

3

4

‘

‘

4

5

‘

r l

j œ

> œ œ L R

l r

j œ

> œ

11

‘

Œ

ready

GO!"

Œ

7

‘

Œ

8

‘

2 •

R L

TACET

13

Œ

> > 6 œœ œœœœœœ œœœœ

10

13

/

two

4

‘

Rhythm guitar

FLAM TAPS

j œ

Œ

one

Hi-hat

FLAM TAP BREAKDOWN

9

two…

∑

™™

PRACTICE PAD – EXERCISES

Hi-hat

FLAM ACCENT BREAKDOWN

> 15 > > / œœ œœœœœœ œœ œœœœœœ œœ Œ 14

2

16

18

•

2

>j j >j j > 20 19 œœœœ‰ œœ‰ œœœœœœ ‰ œœ‰ œœœœ œœ

•

Rhythm guitar

FLAM ACCENTS

> 24 > > > > > > > > > 23 25 j j j j j j j j j j ™           / ™ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 22

R L

l r

r l

L R

r l

l r

R L

l r

r l

R L

l r

r l

R L

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

TACET

26

∑

/

Hi-hat

FLAM PARADIDDLE BREAKDOWN

> / œœ œœœœœœœœŒ 27

28

29

‘

/ ™™ Œ

j œ

‘

31

‘

> 32 Œ œœœœ œœ œœœœ ‘

33

4

34

‘

‘

Rhythm guitar

FLAM PARADIDDLES 35

4

30

> œ œ

œ

œ

R L

r l

r l

l r

FLAM RUDIMENT REPRISE

j œ

> œ

36

37

4

38

‘

‘

™™

‘

L R

Crash cymbal

> > > > 41 > > > > > > > 40 42 j j j j j j j j j j           / Œ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ 39

j œ

R

l

r

L

r

l

R

l

r

L

r

l

R

r

L

l

R

l

r

L

r

l

R

l

r

L

r

l

R

r

> 47 > > 44 > > 45 > > 46 > > > j j j j j j j j         / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ Œ Ó 43

j œ

L l

R l r r

L r

l l

R l r r

L r

l l

R l r r

L r

l l

R l r r

L

R 14

NINE MINUTE DRILL

PAD Diddles and#5 Singles

QUICK

TIPS

DIDDLES

SINGLES

More arm-based stroke than previous double strokes; clear enough to hear an exact rhythm.

Utilize the bounce.

Play-along SLOW - 138 bpm (2’04”) MEDIUM - 150 bpm (1’55”) tracks FAST - 168 bpm (1’44”)

The symbol will help you identify what to listen for in the play-along track to match the exercise patterns!

AUDIO INTRO & COUNT-IN

2

4 /4

"One…

two…

Œ

Œ

two

Œ

Œ

Œ

ready

GO!"

Œ

Œ

Indian Tabla

SINGLE DIDDLES AND FIVE-STROKE ROLLS 1

Œ

one

2

3 4 æ æ æ æ æ æ æ æ / œ œ œ œ œ œ œ œ 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

RR L RR L RR L RR L

R

L

R

L

R

L

R

L

R LL R LL R LL R LL

mf

5

6 7 8 æ æ æ æ æ æ æ æ æ æ æ æ / œ œ œ œ œ œ œ œ 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 RR LL R

TAP DRAGS

L

RR LL R

L RR LL R

L

R

L

R

L

R LL RR L

R LL RR L

R LL RR L

Santur (Persian hammered dulcimer)

> > > > > > 10 11 æ æ æ æ æ ™ / ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 9

r l 15

l r

R ll L rr

r l

l r

r l

l r

r l

l r

R ll L rr

r l

l r

r l

l r

r l

l r

R ll L rr

r l

l r

R ll L rr

r l

l r

R ll L rr

r l

l r

R L

PRACTICE PAD – EXERCISES

Tabla

NINE-STROKE ROLLS

> > > > 14 15 16 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ / ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 13

r l

l r

R L

l r

rr ll rr ll ll rr ll rr

r l

l r

R L

l r

rr ll rr ll ll rr ll rr

r l

l r

R L

l r

rr ll rr ll ll rr ll rr

rr ll rr ll ll rr ll rr

r l

l r

R L

Percussion

SINGLES - SHORT

>> > > 18 > > > > ™ / ™ Œ œœœœ Œ œœœœ Œ œ œ œ œ Œ 17

R

(both hands)

R

L

>>> >>> > > >20 > > > > > > > > > > œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™

19

L

R L R

L R L

R L R

L R L

R L R

L R L

R

Congas

SINGLES - MEDIUM 25

26

27

28

/ ™™ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ ™™

… …

Santur

SINGLES - LONG 33

34

35

36

/ ™™ œœœœœœœœœœ œœœœ œœœœœœ œœœœœœ 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 R L R L

38

2

39

/ œ œ œ œ œœœœœ œ œœœœœ œ œœœœœ œ 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 L R L

Hi-hat

SINGLES AND TRANSITION 37

R L R L L R L R

41

42

œœœœœœœœ œœœœœœœœ

•

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 l

sub. p

LONG ROLL

Hi-hat

43

æ æ æ æ æ æ æ æ / œ œ œ œ œ œ œ œ RR

LL

RR

LL

RR

LL

RR

LL

44

45

‘

46

‘

4

‘

f

"Aaaahhhhhh 47

/

48

‘

49

‘

>!" œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œ Œ 50

RR LL RR LL RR LL RR LL

51

Ó

RR LL RR LL RR LL RR LL

16

NINE MINUTE DRILL

PAD FULL Full Sequence Play-along SLOW (10’05”) MEDIUM (9’06”) tracks FAST (8’17”)

This is what you’ve been working toward. Remember to stay relaxed, keep your ears open, and most importantly…HAVE FUN!

Legato Strokes, Dynamics, and Accents AUDIO INTRO & COUNT-IN

2

4 /4

"One…

two…

Œ

Œ

Œ

Œ

one

two

Œ

Œ

ready

GO!"

Œ

Œ

LEGATO STROKES - FULL EXTENSION

> STROKES WITH DYNAMICS > > > > > > > >2 > > > > > > > >3 > > > > > > > >4 > > > > > > > > 5LEGATO 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 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

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

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

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

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

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

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

f 16TH-NOTE PATTERNS WITH DYNAMICS 7

8

9

10

11

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 R R R R R R R L L L L L L L L

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

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

p

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

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

f

p

8TH-TO-16TH-NOTE TRANSITION

> > > > > > > >14 œ œ œ œ œ œ œ œ œ œ œ ™ ™ œ ™ ™ œœœœœœœ ‘ / 12

13

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

15

R R R R L L L L

> > > > > > > >16 >>>>>>>>>>>>>>>> 17 > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 42 œ Œ 44 R R L L R L R L

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

R

f ACCENTS & TAPS

ACCENTS & TAPS WITH 16TH NOTES > > > > > > > > > > > > > > > > > > 18 4 œ œ œ œ œ œ œ œ 19 œ œ œ œ œ œ œ œ 20 œ œ œ œ œ œ œ œ 21 œ œ œ œ œ œ œ œ 22 œ œ œœ œ œ œ œ œ œ23 œ œ œ œ œ œœ œ œ /4 R r r …

L l

l …

R r l r R r r R r l

r R r r R r l r R

mp

STROKES > > > > > > 26 > 16TH-NOTE BUILD WITH ALTERNATING 25 27 / œ œœœ œ œ œ œ œœ œ œ œ œ œ œœœ œ œ œœœœœ œœœœœ œœ œœœ œœœœœ œœœœœ 24

L

l r l

L

l

l

L

l r

l

L

l

l

L

l r l

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

fp

>> >> > 30LEGATO > >STROKES > > > ->REPRISE > > 31 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œœœœœœœœœœœœœœœœ ™ / ‘ 28

29

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

f

17

ff

32

33

‘

4

‘

> ™™ œœ Œ Ó 34

PRACTICE PAD – FULL SEQUENCE

16th-Note Accents, Buzzes, and Timing Patterns INTRO BUZZES

>>>>1 7œ7œœœœ œ7œ7œœœœ2 œ / ‘

16TH-NOTE ACCENTS > > > > > > > > > 4 7œ7œœœœœœœœœ 5 ™ œœœœœœœœœœœœœœœœ6 œœœœœœœœœœœœœœœœ œ ™ ‘

3

R L R l r l R L R l r l

R L r l r l …

mp

R

p

f

R L

mf

L R

R L

R L

L R

L R

- 2 NOTES > > > > > >8 > > > > > 9TIMING PATTERNS >>>>>> >> 10 >> >>> >"WOO!" >>>> >> >> 11 7 7 7 7 7 7 7 7 / œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœ ™™ ™™ œ œ œ œœœœœœœ ‰ œœ ‰ ‰ œœ ‰ œœœ œ Œ œ œ œ œœœœœ ≈ œœ ≈ œœ 7

R L

R L

R L

L R

L R

L R

R L

L R

R L

L R

R L

r l r l R L R L R L l r l r L R L R L R

> >> > > >"WOO!"13 BUZZES AND ALTERNATE 14STICKING 77 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 œ œ œ œ œ œ œ Œ 12

R L R L R L 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

ff

15

R L L R

R L L R

R L R L L R L R

r l r l R L R L l r l r L R L R

L R R L

L R R L

> 16 œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7 œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ r l r l …

R

p

f

TIMING PATTERNS - 3 NOTES 17

18

19

20

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

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

L R L R L R

L R L R L R

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

L R L R L R

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

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

SINGLE AND DOUBLE ACCENTS

> > > > > >23 > > > > > > 22 ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ™ 21

R L

mf

R L

R L

L R

R L

L R

R L

L R

R L

L R

R L

L R

> > > >> >> TIMING >> PATTERN >>COMBO >> 26 >>> >>> >>> 27 >>>> >>>> >>>>28 > 25 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ œ ‰ ‰ œ œ Œ œ 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 24

R L

L R

R L R L R L

L R R L

R L

R L

R L

R L R

R L R

R L R

R L R L

R L R L

R L R L

R

Double Strokes and Paradiddles STICK CLICK INTRO

DOUBLE STROKES - UNISON

‹j ‰ ‹j ‰ ‹j ‰ ‹j 2 ‰ / 1

3

‘

4

‘

‹ Œ Ó

5

6

7

™™ œœœœœœœœœœ≈ œœœœœœœœ

‘

œœœœœœœœœœœœœœœœ≈ œœœœ

f

>>> Ó œœœœœœ / 8

SINGLE PARADIDDLE BREAKDOWN

> > > > > > > 10 > > > > 11 > > > > 12 > 9 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 r L

l R r L

l

R l r L r l R l r L r l

R r r L

l l R r r L

l l

R l r r L r l l R l r r L r l l

mf DOUBLE PARADIDDLE BREAKDOWN

> 17PARADIDDLE-DIDDLE > > 15 > > > 16 > > > > > > > > 14 > > > > BREAKDOWN 18 ™ / œ œ œ œ œ œ œ œ œœœ œ œœœ œ œ œ œ œ œœœ œ œœœ œ œœœœœœœœœœœœœ ™ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œ œ 13

R r r L l l R l

R l r r L r l l R l

R r r r L l l l R l

R l r l r r L r l r l l R

> 21SPLITŒ PARTS > > 20 > > > ‹ ‹ ‹ 22 / œ œœœ œ œœœ œ œ œœœœœœœœœœœœœ ™™ ™™ ‰ ¿¿J ¿¿¿¿ ¿¿ ≈¿¿ ¿¿¿¿ ¿¿ ‘ R r r l R r r l R l R l r r l l R l r r l l R 19

L l l r L l l r L r

23

R r r R r r R l L l l L l l L r

24

‘

R l r r R l r r R l L r l l L r l l L r

> > > > > > > > 25 QUICK PAGE TURN! ‰ œœœœ‰ œœœœ‰ œœœœ‰ œœœœ ™™ ∑

L r l l r r L r l l r r L

18

NINE MINUTE DRILL

PARADIDDLE RUDIMENT RECAP

> > > > > > > > 28 > > > > > > > 27 29 ™ / ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 26

R l r r L r l l R l r r L r l l L r l l R l r r L r l l R l r r

R l r r l l R l r r l l R L L r l l r r L r l l r r L R

S.C. (or air drum)

DOUBLE STROKES REPRISE

> > > > > > > > ‹ ‹ / œœ œœ œœ œœ œœ œœ ≈ œœ œœ 30

31

32

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20

NINE MINUTE DRILL

MALLET

KEYBOARD Breakdown Exercises This section presents a collection of mallet keyboard exercises designed to reinforce various techniques and patterns.

With any keyboard exercise, you are simultaneously working on the physical playing technique as well as learning the patterns and music theory involved. To get the best of both worlds, constantly evaluate your technical ability in addition to your understanding of how to navigate each exercise. As you gain confidence with the initial patterns in C, begin branching out with the remaining 12 keys. This will help you not only with your chops but also with your sight-reading.

Note: There are no FULL SEQUENCE tracks for the keyboard exercises. Each one is a full sequence unto itself!

KEYBOARD #1 – Scale Express!

This exercise picks up right where our first volume, Five Minute Drill, leaves off. Let’s get these scales going at a faster speed where you can be comfortable with the notes and the key signatures as well as develop the dexterity required to deftly maneuver across the keyboard. As with all exercises, watch your playing areas so that you are always getting the most vibration and resonance out of each bar. All aboard!

KEYBOARD #2 – Scales & Arpeggios This is not just another scale exercise. There is a lot to gain from this format. First off, you will notice that this features the lower and upper neighbor tones (notes right below and above the lowest and highest notes in the scale, respectively). In doing so, it allows you to practice your scales in groupings of 3’s and 6’s to prepare for compound time signatures. (Not all music is in a nice, clear-cut 4/4 time signature!) The different arpeggios here are the four most commonly seen in music. And since music is mostly creative combinations of scales and arpeggios, learning this exercise will help you more readily identify these patterns as they come up in any music you encounter.

21

KEYBOARD – EXERCISES

KEYBOARD #3 – Arpeggios Knowing your arpeggios is one thing; learning them in all of their possible inversions is another, more valuable thing.

The gaps between notes can be frustrating for accuracy, so be sure to go slowly. Think through your motion as you play in order to develop strong habits. Keep in mind that every stroke is going to have to rebound in a way that partially moves to the next note. Think laterally with your rebound and you will start to notice a better overall flow.

When it’s time, crank up the speed!

KEYBOARD #4 – Interval Scales This exercise represents two of the most popular and useful exercises for any musician. Physically you will be working through the expansion and contraction of the distance between mallets as well as locking into one set interval and travelling across the keyboard with it. As with the Arpeggios exercise, you will be developing a greater sense of accuracy. As an added bonus, practicing this exercise will also solidify your ability to play in a given key by already being comfortable playing through the various mechanics of the scale.

KEYBOARD #5 – Octaves & Chromatic Motion Being able to move smoothly from double stops to alternating strokes is paramount to building a strong technical facility. This exercise will allow you to not only focus on these strokes, but it will also reinforce your ability to do it diatonically, then switch to chromatic contrary motion. Because the chromatic expansion and contraction lead with the right hand, it will be natural to play those right-handed strokes too heavily. Balancing your hands is paramount in keyboard playing, and often the “fix” is feeling like you are overplaying your left hand. Focus on where you are on the keyboard and how the volume of that particular octave plays into your overall volume. Adjust your touch on the mallet, your stick heights, and the weight of each stroke to achieve evenness between hands.

KEYBOARD #6 – Green Symmetry This take on the classic George Hamilton “Green” exercise allows you to work quick scale passages of various lengths utilizing both a right-hand and left-hand lead. Use a piston stroke—a high, rebounding stroke that comes off the bar—in order to keep your mallets from bumping into each other. The shift from right-hand to left-hand lead (and vice versa) is executed with a pivotal paradiddle. This technique is functional, of course, but will also give you the opportunity to perfect your doubles with keyboard mallets. Without the bounciness of a snare drum or pad, getting the second stroke of the diddle to sound the same as the first requires a deliberate velocity to the stroke. Stay relaxed, but in doing so, work that second note out. You will have to play in a manner that emulates the rebound that is customary for a pair of snare drum sticks on a bouncy surface.

KEYBOARD #7 – Four-Mallet Exercise At its essence, four-mallet playing only has two techniques: mallets playing together in double stops or rotating to play independent strokes. With that in mind, the theme of this exercise starts simply enough with double stops in both hands. From there, every common combination or permutation of double stops and independent strokes is provided.

Put all of these techniques in your toolbox and even refer back to this page when you need a specific sticking for a solo or other piece of music you might be learning. Customize how you use this exercise to maximize its usefulness for you!

22

NINE MINUTE DRILL

KEYBOARD #1 Scale Express!

QUICK

Play-along tracks

TIPS

SLOW - 92 bpm (2’32”) MEDIUM - 112 bpm (2’06”) FAST - 132 bpm (1’47”)

• Work for consistent volume between hands.

• Watch playing area on bars to achieve a full, resonant sound.

• When rebounding, move smoothly to the next bar and keep the motion going.

NOTE: The backing track contains extra bars in between each key for count-ins. For the sake of space, these extra bars are not notated.

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2

RANGE

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NINE MINUTE DRILL

KEYBOARD #2 Scales & Arpeggios QUICK

Play-along tracks

TIPS

SLOW - 100 bpm (5’47”) MEDIUM - 130 bpm (4’28”) FAST - 160 bpm (3’39”)

• Familiarize yourself with the key signatures and their corresponding scales.

• Arpeggios help to develop an expanded recognition of musical patterns and shapes.

• Keep arms, shoulders, wrists, and grip relaxed as you increase speed.

NOTE: The backing track contains extra bars in between each key for count-ins. For the sake of space, these extra bars are not notated.

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2

RANGE

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NINE MINUTE DRILL

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28

NINE MINUTE DRILL

KEYBOARD #3 Arpeggios QUICK

TIPS

Play-along SLOW - 100 bpm (3’22”) MEDIUM - 130 bpm (2’35”) tracks FAST - 160 bpm (2’06”)

• Use a healthy, fluid rebound off the bar.

• Concentrate on attaining a uniform volume across the keyboard.

• Tame the skips between notes.

NOTE: The backing track contains extra bars in between each key for count-ins. For the sake of space, these extra bars are not notated.

&

2

w

RANGE

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NINE MINUTE DRILL

KEYBOARD #4 Interval Scales QUICK

Play-along tracks

TIPS

SLOW - 100 bpm (5’30”) MEDIUM - 130 bpm (4’16”) FAST - 160 bpm (3’29”)

• Anticipate interval size changes.

• When changing directions, think ahead and keep your mallets moving.

• As the speed increases, lower your stick height and stay relaxed.

NOTE: The backing track contains extra bars in between each key for count-ins. For the sake of space, these extra bars are not notated.

&

2

w

RANGE

w

AUDIO INTRO & COUNT-IN

4 &4

C

"One…

Œ

two…

Œ

Œ

Œ

two

Œ

ready

Œ

GO!"

Œ

EXPANDING & CONTRACTING

& œ œ œ œ œ œ 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

THIRDS

5

Œ

one

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

bbbbb

Db 9

13

31

b & b bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ & 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 œœœœœœœ œ œœœœœœœ

##

KEYBOARD – EXERCISES

D 17

# &#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ &#œ œ œœ œ œ œœ œ œ œœ œ œ

Eb

29

b œ &b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œœ &b b œ œ œ œ œ œ œ œ œ œ œ œ

E 33

37

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

#### &

œœ œœ œœ œ œ œ œ œ œ œ œ œ

œ œ œ œ b œ œ & œ œ œ œ œ œ œ œ œ

41

45

œœœœœœ œ œ œ b œ œ œ œ & œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ####

œœœœœœœ œ œœœœœœœ

#### &

F

bbb

œ œ œœ œ œ œ œ œ œ œœ œ œ œ

21

25

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œœ œœ œœ

b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œœœœœœœ

bbbbbb 32

NINE MINUTE DRILL

Gb 49

53

bbb b œ œ œ œ œ œ œ b & b œ œ œ œ œ œ œ œ bbb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ b & b œ

G 57

œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ #

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

Ab 65

69

œ œ œ b œ b œ œ œ œ œ œ &b b œ œ œ œ œ œœœœœœ œ b œ œ b œ œ œ œ &b b œ œ

A 73

77

33

### œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ

œœœœœœœ œ œœœœœœœ

#

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

#

61

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

bbbb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œœœœœœœ

###

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œœ œ œœ œ

bb

KEYBOARD – EXERCISES

Bb

œ œ œ œ b œ œ œ œ œ œ œ &b œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

81

85

œœœœ œ œ œ œ œ œ œ b &b œ œ œ œ

B

œœœœœœœ œ œœœœœœœ

#### #

89

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & #

93

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & #

œœœœœœœ œ œœœœœœœ

œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

C 97

101

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nnnn

n

34

NINE MINUTE DRILL

KEYBOARD #5 Octaves & Chromatic Motion QUICK

TIPS

Play-along SLOW - 100 bpm (3’28”) MEDIUM - 120 bpm (2’54”) tracks FAST - 140 bpm (2’30”)

• Match stick height between hands to perfect your double stops.

• Retain that matched stick height when playing through the chromatic motion.

NOTE: The backing track contains extra bars in between each key for count-ins. For the sake of space, these extra bars are not notated.

• Check where you are placing your fulcrum on the mallet and work for a truly balanced stroke.

w

RANGE

&

2

AUDIO INTRO & COUNT-IN

4 &4

"One…

Œ

Œ

two…

Œ

Œ

one

Œ

two

Œ

#w

ready

Œ

GO!"

Œ

C

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ & œœœœœœœ œœœœ œ œbœ œnœ œ #œbœ œ œ#œbœ œ œ Œ œ œ # œ œ œ œ œ œ œ #œ

1

bbbbb

Db 5

œœœœœ œœœœœ œ œ œ ## b œ b œ <b> œ œ œ œ b n œ b œ n œ Œ b œ œ n œ b œ n œ # œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ nœ œ #œnœ œ#œnœ nœ bœ nœ bœ œ

D 9

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ nœ œ bœ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ #œ œ œbœ œnœbœ #œnœ œ œnœbœ#œ œ Œ

Eb 13

35

œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ bœ œ b œ bœ nœ <b>œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ #œnœ œbœ#œnœ œ œnœ nœbœ œ œ nœ bœ Œ

bbb

####

KEYBOARD – EXERCISES

E 17

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ nœ bœ nœ nœ #œ nœ #œ œ Œ b œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ nœ #œ œ œbœ œnœbœ nœ bœ nœ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œ œ bœ œ bœ œ nœ œ #œ œ #œ œ œ Œ œœ œœ œ œ œ œ #œ œ #œ œ #œ œ nœ bœ œ bœ œ &b œ œ œ

F 21

bbbbbb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ <b>œ Œ # b n œ œ œ b n œ b œ n œ # œ n œ # œ b œ œ œ b n œ œ b œ œ œ œ œ œ œ œ œ œ nœ #œ nœ #œ nœ bœ nœ bœ & b b œœ

Gb 25

œ œ # œ œ œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œ œ nœ œ bœ œ œbœ œnœ #œ œ nœ #œ œ œ bœ œ bœ œ Œ œœ œœ œ œ œ œ #œ œ #œ œ & œœœ

bbbb

œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ bœ œ œ œ #œ œ <b> œ b n œ b œ n œ n œ # œ œ œ œ b œ œ œ œ # œ œ n œ œ œ œ b Œ œ n œ n œ bœ nœ bœ œ œ œ œ nœ & b œ

###

œœ œœœ ### œ œœ œœ œ œ œ œœ œœ œ œœ œ œ œœ œ œ œ œ nœ œnœnœ#œ œ œbœ œnœ œ nœnœ#œ nœ #œ <n> œ Œ œ #œ nœ œ œ & œ œ œ #œ œ

bb

G 29

Ab 33

A 37

œ œ œ œœ œœ œœ œ œ œ œ œœ œœ œ œ œ œ œ b œ œ bœ œ œ œ#œ œ <b> œ œ # œ b n œ œ œ œ œ # œ œ n œ b œ œ # œ œ œ œ œ Œ nœ bœ œ œ œ nœ &b œ

Bb 41

#### #

B 45

n nn ## œœ œœœ & # ## œ œœ œœ œ œ œ œœ œœ œ œœ œ œ œœ œ œ œ œn œ nœ# œ bœnœnœ#œbœ œnœ œ#œbœ nœnœ#œbœnœn œ #œ œ Œ n n œ œ œ œœ œ

C 49

œœœœœœ œœœœœœœ œ œ & œœœœœœœœ œœœœœ œ œ

œ œ bœ œ bœ œ bœ nœ #œ œ #œ œ œ Œ œ # œ œ #œ œ œ œ œ bœ œ bœ œ 36

NINE MINUTE DRILL

KEYBOARD #6 Green Symmetry QUICK

TIPS

Play-along SLOW - 92 bpm (7’08”) MEDIUM - 112 bpm (5’52”) tracks FAST - 132 bpm (4’59”) NOTE: The backing track contains extra bars in between each key for count-ins. For the sake of space, these extra bars are not notated.

2

RANGE

&

• Strive to perform the second note of the double stroke at the same volume as the first.

• Check that all five fingers are in contact with the mallet at all times.

#w

• Minimize unnecessary motion. Every motion should have a purpose!

w

*substitutions provided in score

AUDIO INTRO & COUNT-IN

4 &4

"One…

Œ

Œ

two…

Œ

Œ

C

one

Œ

œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœ & œœœ

1

R L R L…

5

R

ready

Œ

Œ

GO!"

Œ

œ œ œ œ œ œ œœ œ œ œœœœœœœœ

L R L L R

R L RR

œœœœœœ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œœœœ œ œœœœœœ L

8

R L RR L

two

œœœœœœœœ

œœ

L R L L R

& œœœœœœœœœœœœœœœœ œœœœœœœœ œœœœœœœ œœœœœœœœœ Œ œ R L R R L

Db

œœ œ œœœ œœœœœœœœœœ œœ œ œ œ œ b œœœœœœœœœ œœœœœœœœœ b œ œ œ œœ œ &b b b

11

L R L L R

bbbbb

œ œ œ œ œ œ œ œœ œœœœœœœœœ

sim.

15

18

37

œœœœœœ œœœœœœ œ b b œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ &b b b œœœœœœœ

œœœœœœœœœ

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 Œ œ

œ ##

KEYBOARD – EXERCISES

œœ œ œ ## œœœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœœ œ œ œ œœœœœœœœœ œœœœœœ &

D 21

25

28

œ œ œ œ œ œœ œ œ œœœœœœœœ

œœœœœ œœœœœœœ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ & œœœœœœœœ

œœœœœœœ

# & # œœœœœœœœœœœœœœœœ œœœœœœœœ œœœœœœœ œœœœœœœœœ Œ œ

bbb

œœœ œ œœœœœœœ œœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œœœœ &b b

Eb 31

34

37

b &b b

œœœœ

œ bb œ œ œ œ b &

œœœœ

œ œ œ œ œ œ œ œ œœ

œ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ ## œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ Œ # # œ

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

41

47

## &##

œœ

œœœœœœœ œœœœœœœœ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ

E

44

œœ

œœœ

œœ œ œ œ œœœœœœœœœœœœ œ œœœœœœœœœœœœœœœœ œœœœ œ œ œ œœœœœœœœ

œ #### œ œ œ œ œ œ &

œœœœœœœ

œ œ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ Œ b œœœ 38

NINE MINUTE DRILL

F

& b œœœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ

51

55

58

œœœ œœœœœœœ œ œœœœœœœœ

œœœœœœœœ œ œ œ b œ œ œ œ œ œ œœ & œœœ œ œ œœ œœœœ œ œœœœœœ œœœœœœœœœ œœœ &b œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœœ

œ œ œœ œ œ

œœœœœœœœœ Œ œœœœœ

bbbbbb

Gb

bbb b œœœœ œœœœ œ œœœœœœœ œ œ b œ œ œ œ & b œœœœœœœœœ œœœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœœ œœœœœœœœ

61

65

68

bbb b œœœœœœœœœœœ œ œ œ œ œ b œ œ œ œ œ œ & b œœœœ œœœœœœœœœ œ œœœœœœœœœœœœ b & b bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ Œ œ œ œ œ œœœœœœœ

G

#

œ œ & œœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœœ œ œ œ

71

75

78

39

#

#

œœœ œ œœœœœœ œ œœœœœœœœ

œœœœœœ œœœœœœ œ & œœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ

œœœœœœœœ

# & œœœœœœœœœœœœ œœœ œœœœ œœœœœœœœœ Œ œ œœœœœœœœœœœœ

œœ

bbbb

KEYBOARD – EXERCISES

Ab

œœœœ œœœ œ œ œ œœœœœœ bb œ œ œ œ b œ œ œœœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœœ œœœœœœœœ & b œœœœœœœœœ

81

85

88

œœœœœœœœ œ œ œ b b œ œ œ œ œ œ œœ œ œœ &b b œ œ œ œ œ œ œœœœœœœœœœ œ œ œ œœœœœœœ bb &b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ Œ œœœœœœœœœœ

###

A

œ ### œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œœœœœœœœœ œœœœœœœœœ & œœœœœœœ

91

95

98

œœœœœœœœœœ ### œ œ œ œ œ œ œ œ œ œœ œ œœœœ œœœœœœœœœœ & œœœœœœœœœœœœ ## & # œœœœœœœœœœœœœœœœ œœœœœœ œ œœœœœœœœœ Œ œ œ œ œ œœœœœ

Bb

œœ œ œ œ œ œ œ b œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœ & b œœœœœœœœœ œ

101

105

108

œ œ œœ

bb

œ œ œ œ œœœœœœœœ

œœœœœœœœœœ œ œ œ œ œ b œ œ œ œ œœ œ &b œ œ œ œ œ œ œ œœ œœœœœœœœœœ œ œ œ œ œœœ b &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœœ Œ œœœœœœœœ

#### # 40

NINE MINUTE DRILL

œ œ œ œ œ œ œœœœ #### œ œ œ œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœ œ œ œœœœœœœœ & # œœœœœœœœœ œ œ

B 111

115

118

œœœœœœœœœœ #### œ œ œ œ œ œ œ œ œ œ œ œ œ & # œœœœœœ œœ œœœœœœœœœ œ œ œ œœœœœ # ## & # # œœœœœœœœœœœœœœœœ œœœœœœœ œœœ œœœœœœœœœ Œ œ œ œ œœœ

C

œ œ œ œ œ œ œ œœœœœœœœœ œ œ œ œ œœœœœœœœœ œ œ œ œ œ œœœœœœœœœ & œœœ

121

125

128

41

nnnn

n

œ œ œ œ œ œ œœœ œ œœœœœœœœ

œœœœœœ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œœœœ œ œœœœœœ

œœœœœœœœ

& œœœœœœœœœœœœœœœœ œœœœœœœ œœœ œœœœœœœœœ Œ œœœœœœ

œœ

KEYBOARD â&#x20AC;&#x201C; EXERCISES

42

NINE MINUTE DRILL

KEYBOARD #7 Four-Mallet Exercise QUICK

TIPS

• Keep tension at a minimum. The extra weight from four mallets should not be met with additional strain.

• Keep an eye on your thumbs. They are often an indicator of how successfully you are holding the mallets.

• Think through the motions required for each variation and permutation. Confusing vertical motion (double stops per hand) and rotary motion (one mallet at a time per hand) can often inhibit your progress.

Play-along SLOW - 80 bpm (2’51”) MEDIUM - 92 bpm (2’30”) tracks FAST - 104 bpm (2’14”)

&

RANGE

w

w

NOTE: The play-along track repeats the progression 3 times.

2

AUDIO INTRO & COUNT-IN

4 &4

"One…

Œ

two…

Œ

Œ

Theme & œœœ œ

œœ œœ

œœ & œœ

œœ œœ

œœ œœ

œœ œœ

œœ & œœ

œœ œœ

œœ œœ

œœ œœ

1

6

12

43

œœ œœ

œœ œœ

œœ œœ œœ œœ

œœ œœ

œœ œœ œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

one

Œ

œœ œœ

Œ

œœ œœ

œœ œœ

‘

œœ œœ

œœ œœ

œœ œœ

two

œœ œœ

Œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

ready

œœ œœ

Œ

œœ œœ

œœ œœ œœ œœ

œœ œœ

œœ œœ

GO!"

œœ œœ

Œ

œœ œœ œœ œœ

œœ œœ œœ œœ

œœ œœ

œœ Œ Ó œœ

œœ œœ œœ œœ

KEYBOARD – EXERCISES

Variations Develop your four-mallet technique by substituting each of the variations on this page for the block chords on the previous page.

#2: 1/3 - 2/4

#1: HAND TO HAND

4 &4 œ œ

œœ

L

R

œœ

œœ

L

R

œœ

œœ

…

œœ

œœ

#3: 1/4 - 2/3 4 1

3 2

4 &4 œ œ

œœ

sim.

œ œ

œœ

œ œ

œœ

œ œ

œœ

4 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #7: 1-2-4-3

œ œ

œ œ

œ œ

œ œ

œ œ

œ œ

œ œ

4 &4

1 2 3 4 …

œœ œœœ œœœ œœœ œ œ œ œ œ

4 &4

1 3 2 4 …

œœœ œœœ œœœ œœœ œ œ œ œ

#8: TRIPLET UP & DOWN

1 2 4 3 …

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

2

2

3

4

3

2

1

2

3

4

3

2

œ œ œ œ œ œ œ œ œ œ œ œ 3

3

4

sim.

œœ œœ œœ œœ œ œ œ œ œ œ œ R œ 3

4 &4

1

3

3

#10: TRIPLET PATTERN #2

#9: TRIPLET PATTERN #1

4 &4

4 &4 œ œ

sim.

#6: 1-3-2-4

4 3 2 1 …

1

4 2

#4: 1-2-3-4

#5: 4-3-2-1

4 &4

3 1

3

3

3

3

sim.

4 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

3

3

3

L

44

ADDITIONAL RESOURCES FROM THE SAME MINDS THAT BROUGHT YOU NINE MINUTE DRILL FIVE MINUTE DRILL

DAILY FUN CLASSROOM ROUTINES FOR PERCUSSION

by Eric Rath & Ralph Hicks

This precursor to the NINE MINUTE DRILL is the ideal package for younger percusionists. Designed as a cure for the “bored” percussionists in your classroom during wind warm-ups, this unique book+CD play-along package is loaded with essential percussion exercises young students need in order to build lasting foundations with their rudiments, stickings, dynamics, major scales, and chromatic scales.

Shorter breakdown exercises build up to form full sequences that take about five minutes a day. While your wind players are working long tones and lip slurs at the beginning of class, your percussion students can set up their practice pads or keyboards, pick an exercise, hit PLAY on an MP3 player, and away they go! They’ll be as ready as ever when it’s time to get into the music.

BEYOND BASIC PERCUSSION

FOSTERING INDEPENDENCE THROUGH ENSEMBLE PERFORMANCE

by Eric Rath & Ralph Hicks

This practical and fun collection consists of 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 and dampening concepts

• 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 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!

tapspace.com