DRUM SECRETS

With Sam Brown

2010

Welcome to the Drum Secrets PDF files!

Here youll find the examples that I played written out for you to try for yourselves. There was not
nearly enough time in the videos to explain everything in great depth and Ill try to fill in any important gaps as we go through the examples.
I have tried to present material that contains useful information for both beginners and seasoned
pros. Please bear with me if some stuff is too elementary, and some that might seem
un-neccessarilly complicated. The stuff at the end is good advice for everyone though, so hang in
there.
If you teach the drums, please feel free to use some of my examples. I would prefer that you just
get your students to download my humble app, but if you are teaching your Grannie to play the
drums and she has not got an iPhone or iPad yet, then please consider using some of my teaching
ideas.
So, here we go - on to the videos!

LESSON 1
Well, there are no music examples to follow here because I think it is SO important to get the kit
set up in an erganomically sensible way. There are so many examples of fine drummers who have
wound up being crippled by tendonitis, carpel tunnel syndrome, bad backs... and WORSE, that I
thought it was worth giving you the advice that Ive been given that has kept me fit enough to enjoy
a thirty year career... and counting!
The height of the stool and snare drum are critical here. I also suggest that you sit slightly forward
on the stool so that your thighs are not restricted. I appreciate that everybody is different and a position for one may not be the best position for another, but try some of my positioning ideas and
see if it frees up your playing. I have short legs in comparison to my height so the way I sit is not
going to be exactly the same as yours. Experiment. Freedom of movement is king.
The Seven OClock Rule is really important. So often I see poor hand technique because the
drums are too low or too high. If you play using the traditional grip in the left hand, then there may
be reasons to break this rule.... but I don't think so. Ive seen film of Buddy Rich - possibly the
greatest sticksman ever - playing on a snare that was sloping violently away from him! Think about
my reasons, chew it over, try it out, then draw your conclusions.

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 2
Stick Technique.
Heres something that is so difficult to put across in a book, but a doddle to show you on video!
Yes, there are many different schools of thought about how to hold a drum stick correctly, and this
method guarantees results. Its not all about strength, but having power in the hands is very useful.
I am basically pretty lazy and find the more I use my fingers to control the stick during a gig, the
fewer calories I burn and the longer I last out! Remember, keep the triangle position and avoid parallel sticks.
Buddy Rich and Dennis Chambers are two drummers that spring to mind who I know advocated
practising on pillows. The complete lack of bounce or rebound makes the fingers do all the
controlling. Also, playing with wire brushes is excellent for developing stick-control! don't just hide
them in your stick-bag - USE THEM!
So, to our first example:

I always think it amazing that you can learn this in your first ever lesson, then go and see someone
on the TV getting paid and having fun playing that very groove! I don't think you can say the same
of any other instrument. Its such a basic groove, but it really shows that its not what you play, its
how you play it! Dynamics and timing rule!
The key points to remember are:
1) Squeeze the hand on the downstrokes so that the tip of the stick checks very close to the surface you have just hit. Theres a Karate-chop quality to it!
2) Open the hand on the up-stroke so that the stick springs into the vertical position.

I should also point out that there are plenty of occasions when you should play all the hi-hat notes
at the same volume, depending on the style. Its good to have the control to do both with, and
without accents.

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 3
Coordination.
Yes, its the C word! We humans really were not wired up to do this drumming thing! However, we
have an incredible capacity to learn. Remember, if one person can do it then it must be humanly
possible.
With coordination problems, break exercises down into combinations of limbs:
1) The hands
2) The Feet
3) Right Hand and Right Foot
4) Left Hand and Left Foot
5) Right Hand and Left Foot
6) Left hand and Right Foot
7) All limbs except Right Hand
8) All limbs except Left Hand
9) All limbs except Right Foot
10) All limbs except Left Foot.....
Something I learnt from piano lessons: 1) learn the Left Hand part, 2) Learn the Right Hand part,
3) When 1) and 2) are really secure, play both parts at the same time. Apply this to your drum coordination challenges!
So, to the first exercise in this lesson:

Now add the hands on the snare. Make a big difference in volume between the accented and unaccented notes:

Now go grab your Stetson Hat and

spurs and play the track!

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 4
Rudiments.
These are the Scales and Arpeggios of the drums. I love em! In fact, if scales and arpeggios are
taught well, then you can love them too. When you know what these little fellas can do youll be
doing them day and night, much to the annoyance of those around you. They are so much fun
too... if you use your imagination!
Heres a rudiment - Single Strokes as a funky groove. Download the MP3 backing track. Its only a
blues, but Ive run off a few versions at different speeds for you. You can use these tracks to practise a million other things as well.

The Right Hand on beats 2 and 4 are accented anyway, but apply the accent strategy from the
video and get on down with the funky groove!

Ex 9:

Play 3 Choruses of 12-bar blues. Funkier than sin itself!

So, now we get into DOUBLE STROKES - the next batch of rudiments. There are two ways to play
doubles: HIT them or BOUNCE them. If you work on the exercises that are coming up youll wind
up with a technique that mixes the best of both methods into one really powerful ability. Exercise
10 (coming up) is possibly the most powerful exercise in the whole of the DrumSecrets program.
This rudiment changes lives! Its not an official rudiment... but it should be! An important point
that I did not mention on the video is that when one stick is doing its up-stroke down-stroke thing,
the other stick should be MOTIONLESS and in the down position. This is an exercise where you
should really exaggerate the movement when you are learning it - when you play for real, what you
have learnt will make your doubles off the scale of AWESOME!
Be Exited. Here it comes:

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2010

DRUM SECRETS
Sam Brown

LESSON 4

2010

con ti n...

Rudiments contin...
Here it is. This one exercise can do more for your technique than any other... in my humble
opinion. Remember: slowly and perfectly is the way to tame this one. Do what Buddy and Dennis
recommend and play this on pillows!

Now lets look at some triplet stickings using doubles. If your Left Hand double is not as good as
your Right Hand double, then this will sort you out. You can thank me later.

By the way, I mention on the video that you have already heard the backing track that goes with
this groove. You haven't. I got things in the wrong order, but youll forgive me I hope.

EX 12 Half-Time Shuffle Funk 16th-note Groove MP3 Playalong Track

Here I throw in a few cool things:
1) I move the bass drum around and put under different Hi-Hat notes. Work your own bass-drum
variations out using a pencil and paper. Its fun! Ive written a few variations down - see below.
2) I move the Left Hand Double down to the snare sometimes. Sounds cool, methinks.
3) Because Ive practised the Great Ex 10 I sometimes accent the 2nd stroke of the Left Hand
Double. Sounds positively sub-zero cool!
Sorry, but I could not resist the double-strokes on the cymbals at the end!

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2010

DRUM SECRETS
Sam Brown

LESSON 4

2010

con ti n...

Want great Right-Hand Doubles? Shuffle beats! My favourite! Years of playing in seminal blues
band Blues D-Lux really sorted my doubles out. I love playing the shuffle on the snare with the left
hand too, as demonstrated. Very 'Steve Gadd' - he nails this technique like no other.

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 4 contin...
EX 14 Shuffle MP3 Playalong
The playalong track is kinda 'Killer Joe' meets 'Friday Night At The Cadillac Club' - great tunes
both. Experiment with the 'tightness' of the swing - in other words push the pairs of notes a little
closer together for a really snappy feel. The finger control/one-handed clap thing is important,
some would say vital here. If you spread the pair 'wide' you can get that half-swing-half-straight
feel which you might find in Reggae or New Orleans grooves. Such fun to be had! Here are a few
variations:

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 5
Fills
Sometimes I ask a pupil what they want to cover in the lesson (probably because I have completely forgotten what we did the week before). More often than not they request "More fills,
please!". This never worries me because I can usually pick a rudiment out of the hat and find a use
for it around the kit. Ah, if only they knew! Yes, fills require technique - but some fills require more
than others. Ultimately you use technique only to support your musical expression, not just as gratuitous chop-display. However, in the short-term, using a technique for technique's sake is a good
way to learn and expand your repertoire.
Time-keeping. I do not have a font big enough in my computer to write that word and give it it's due
importance. Think the 'Hollywood' sign and you'll be close. Download a drum-machine app and
program the sequences I suggest. The key here is to understand the difference between learning
to develop your own 'internal clock' and learning to become a slave to a click. Enjoy the backing
tracks - it took me DAYS to film this sequence! It's a great way to learn - record yourself. My timekeeping really improved over the few days. Thank you, Drum Secrets!

www.drumsecrets.com www.makemoremusic.co.uk
2010

DRUM SECRETS
Sam Brown

LESSON 5

2010

contin...

Ex 16 Fills Playalong MP3

2 versions to enjoy - 85 beats per minute and 55 beats per minute.

don't fret - I explain all the fill techniques that Im using later in the app! The last fill on the fast version is Paradiddle-diddles which I explain on the free lesson on the website. The funny bit of
groove in the 2nd bar of the last line of the slow version is a little bit of linear drumming... but that
will have to be a whole separate app...

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 6
Mega-triplets!
Well, that's what I call them. It's an old trick, and much over-used I'm afraid. The cool stuff is when
you use it within grooves and are ultra-subtle about it. The learning strategy that I outline in the
video really works - you learn when you 'repair the damage'. DON'T STOP when the timing goes
awry - slow down and repair. By the way, you do not have to pull the funny faces like I did when I
demonstrated this. I am just trying to communicate my thoughts processes as I'm playing. It was
quite weird demonstrating what it sounds like when it goes wrong! As a general rule I try not to play
badly on purpose! Experiment with all other permutations: F R L F R L, or L F R L F R etc as
shown in the example.

See what different sounds you get when you learn it leading with the Left Hand:
LRF LRF, FLR FLR and RFL RFL.
The 2 groove examples are great fun. Dynamics are very important - see how quiet you can play
the left hand snare notes. Here are a few representative bars of what I was doing. Make up your
own variations.

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2010

DRUM SECRETS
Sam Brown

LESSON 6

2010

contin ...

The idea is to be so fluent that you can pop this lick in wherever the fancy takes you. If you think
about it, each limb is only moving at one third of the resultant speed. Therefore, this lick can go
pretty fast when you have got the hang of it! Practising the big tom fill is a great way to develop the
timing control.
EX 20 - Half-Time Shuffle Funk MP3 Playalong

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2010

DRUM SECRETS
Sam Brown

LESSON 6

2010

contin ...

The Jazzy application is very cool too. Blend the quiet snare left-hand notes with the ride cymbal.
Alternate left-foot and right-foot ad-lib to create some great textures. You are a Jazz God with this
little baby!
Ex 21

My kit in the video is not tuned up for a really jazzy sound, but you get the idea Im sure.

www.drumsecrets.com www.makemoremusic.co.uk
2010

DRUM SECRETS
Sam Brown

2010

LESSON 7
Lesson 6. The feet
Diddledi-dums. A silly word, but a hot lick! Here it is:

This is quite an easy way to appear quite flash on the drums. Grannie will be most impressed! As
explained, it relies on a nimble bass-drum double and to train your foot to do the necessary movements you can do thousands of slower doubles whilst practising a Samba groove. Heres our
Samba foot pattern:

Heel-up or Heel-down is
fine. Whichever you choose,
practise the other way too.

Here I use the principle that sustained repetition at a steady speed increases your top speed without needing to work on it. If I had to sprint for the bus, I probably wouldn't make it in time and if I
did I would need a nurse and an oxygen mask to revive me - I am not very fit. However, if I went
gently jogging every day for half an hour I would become fit and I would then be able to sprint but
without ever having to practice sprinting. It's the same with drumming. Speed comes TO you, if you
get this mentality.
So, while our right foot does its double-stroke thing, we can put our minds to some coordination
skills. The whole 'Downbeat/Upbeat' way of working is a great learning strategy. Try this learning
method with other bass drum patterns. To be more authentic with your Samba you'll need to listen
to loads of Brazilian music and learn some specific patterns, but what I'm playing here evokes the
style and is great for your bass drum doubles!
Here come the exercises. Follow them through with the video then try them yourself.

www.drumsecrets.com www.makemoremusic.co.uk
2010

DRUM SECRETS
Sam Brown

LESSON 7

2010

con t in...

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2010

DRUM SECRETS
Sam Brown

LESSON 7

2010

con t in...

Now we swap from downbeats to up-beats by popping in one of those doubles. You are going to
wind up with the skill to play some really complex stuff without actually having to work on anything
complicated. Cool, or what! The example below is the sort of thing I was doing:

Ex 34 Two Sambas. MP3 Play-along

The first one is very gentle and slow. Relaaaax! The second one is much more lively. Check out
the accents Im putting in in the hands. Again, this is a foot-control exercise, wrapped up in a coordination exercise, wrapped up in a style, wrapped up in a fun play-along track. Please go and listen
to some real Sambas from Brazil!
As suggested, invent some more bass drum doubles exercises. Heres one I prepared earlier:

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 8
Ambidextrousness!
Possibly the sneakiest way of learning paradiddles ever! If you now believe that life is just a big
random mixture of singles and doubles then I have done my job. Welcome to musicality!

Ex 39 is the same general approach as 38, only keep the snare really, really quiet. No, quieter than
that even! Try the right-hand part on a cow-bell - very Dave Weckl! Isnt it amazing how much
music starts to become available to you using this way of thinking! Remember - its a big secret tell no one!

www.drumsecrets.com www.makemoremusic.co.uk
2010

DRUM SECRETS
Sam Brown

LESSON 8

2010

cont in...

Heres that fill:

That sticking looks like the paradiddle from Hell, doesnt it! However, because it is born out of pure
musical thought, its a doddle. Once you have played with this concept for a while creating sticking
patterns like this will become second-nature. If you find this kind of thing difficult, ask yourself if it is
the exercise itself, or just the reading which is slowing you down.....
Heres that other fill:

And here, eventually, is the humble paradiddle. Yes, you should learn every permutation of the
rudiment:

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 9
Flams.
Flams! Yummy! Historically, drums were an instrument of war. An army of drummers would sneak
up on an enemy as they slept, then on the command would start pounding away. The enemy would
be so terrified at the noise that they would be easily conquered. They discovered that if they hit the
drums with two sticks almost-but-not-quite together, they made twice as much noise! The 'flam'
was born! Nowadays the flam is more useful for annoying the neighbours... and for some hot fills,
of course.
On the videos I occasionally say Both instead of flam to describe the sticking. Sorry. don't let that
confuse you. Actually, its worth being able to play the flam so tight that the 2 notes are struck
together. Practise them both ways - tight and loose.
Here are the routines:

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2010

DRUM SECRETS
Sam Brown

LESSON 9

2010

contin...

I find myself saying the word 'Flap-Jack' to myself when I play ex 47. When I do exs 45 and 46 I
say 'Underpants'! Younger pupils find this hilarious and I am instantly 'cool'! If there's any way you
can make rudiments more fun - DO IT!
Ex 48
Heres a condensed and concise version of what I am up to in the flam routine. When I demonstrated Ex 48 I was not thinking in any particular time signature, I was just swapping around the
three sticking patterns. I advise that you always come back to the flap-jack rudiment ( ex 47 )
rather than trying to run 45 into 46 or vice versa. Heres a routine to get you started:

Yes, I know I know I know! You can do the flam in the opposite direction from the second note. I
just find this a brilliant way of getting a very impressive result as easily as possible.
When you move flams around the kit there are a couple of approaches to try:
1) Split the flam between two drums.
2) Move on the 3rd note.
You may find one approach works better than the other. The idea is that each stick moves in its
rest. You don't want to be separating the double stroke between two drums. Awkward.

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2010

DRUM SECRETS
Sam Brown

2010

LESSON 10
The Final Frontier....
Here lies the information which will lead you on a fascinating journey, as it did when I discovered it.
Over twenty years of teaching has taught me many things, but none more important than the fact
that we all learn in different ways. What works for one player might not work for another. This, in
turn, has helped me to teach myself and realise some of my potential. (I still have heaps of untapped potential - and so do you!)
It was only in the 1970s that people started to look at the psychology of people who were brilliant in
their field. Up until then all psychological research had been studying people whos brains did NOT
work well at all! Psychology of learning, psychology of success and the psychology of personal development is all relatively new. Imagine how far ahead we could be in a couple of hundred years!
The Four Levels Of Learning are so obvious, but once you are aware of them you can chart your
progress. It will inspire you to continue to practise, even if you think you are not improving. The
four levels are summed up thus:
Level One: UNCONSCIOUS INCOMPETENCE (You dont know that you cant)
Level Two: CONSCIOUS INCOMPETENCE (You know that you cant)
Level Three: CONSCIOUS COMPETENCE (You can, but you have to think about it)
Level Four: UNCONSCIOUS COMPETENCE (You can, and you dont have to think about it)
Pretty soon youll know instinctively which things you play at level three and which at level four. I
hope my story about the Quarryman will help you to keep on keeping on.
My second point in this lesson is that Practice does not make Perfect. I believe it makes
Permanent. Big difference! The quickest way to form a habit is to do the same thing - and I mean
EXACTLY the same thing - again and again. Little errors seem to dilute the learning down considerably. Often, all you have to do is sacrifice speed and you can play your exercises perfectly.
Speed will return to you ten-fold if you approach learning in this way.
Listening. Yes, listening. Its so simple. Even when we dont actively listen, we hear, dont we. All
our lives we hear music in the shopping mall or on the TV and we dont notice it consciously. Unconsciously we are aware of it and I believe it affects us and helps to mould our musical abilities
and tastes. My abilities and tastes in music would be very different if I had been brought up in
India, for example. When we improvise or compose we are accessing this database of listening experience unconsciously and it is from here that we develop our personal style.

www.drumsecrets.com www.makemoremusic.co.uk
2010

DRUM SECRETS
Sam Brown

LESSON 10

2010

conti n...

The Brain Cannot Tell The Difference Between a Real Action and a Vividly Imagined Action.
Thats pretty profound, I think. This was the piece of information that set me on a journey which led
me to all sorts of fantastic places, as Im sure it will lead you too. The links on the DrumSecrets
website will give you a good head-start.
I have been fortunate to have taught some amazing young pupils, and they all had something in
common. They all pretended they were someone else when they played. Some imagined that they
were the best drummer in the world playing in some huge stadium with lights and cameras and
adoring crowd. Some imagined that they were me - their teacher. Some imagined that they were a
future version of themselves when they were grown up and had become the Drum-God that they
aspired to be. Imagination plays such a big part in learning and that skill never leaves us - although
it can become a little rusty. Often schools, adults etc unwittingly teach us NOT to use our imagination by the things they say to us. If you start exploring some of the links youll find some really fun
ways to re-kindle this dormant talent that we all possess.
Lastly, I just want to say a big thank you for buying my humble app. It has been great fun putting it
together - I have learnt a ton of stuff myself from the whole project. Please leave some feedback
on the app store if you have enjoyed what I have made here.
Ill leave you with this thought that crossed my mind one day when I was out for a nice walk:
Its only when you Think Outside The Box that you
Find All The Things that were Too Big to have
Been In The Box in the First Place.

www.drumsecrets.com www.makemoremusic.co.uk
2010