onContents Foreword... Key to Notation Contemporary Rudiments: 46th Note Hand Patterns 46th Note Patterns with Bass Drum Tripiet Hand Patterns Triplet Patterns with Bass Drum Incorporating the Tom-Toms ... Using the Contemporary Rudiments ~ Drum Set Interpretation Exercises. Haid Doubles Against Single Bass Drum Strokes... “Hi-Hat Foot Substitution - Cantemporary Triplet Exercises ~ Shuttle, Hall-Time Shuttle, and tteHoe Exercises Ghosting the Shuttle + Shuffle Patioms Using Hi-Hat Foot Substitution... SS Contemporary Patterns and Fills ....About the Author It was the success of his best-selling drum text, Advanced Funk Studies, that »° jaunched Rick Latham into the international percussion spotlight, but it has been his expertise as a versatile drummer and educator that has made him ‘one of contemporary - drummings' most respected players. ! Rick staited drumming at the age of twelve. Initially self-taught, his ears led him to such Powerful rhythm and blues influences ‘as the hit Motown and. Atlantic label recording artists of the day, and such players as sessions great Bernard Purdie. Playing club dates during his high school years, Fick alterided to the technical aspects of drumming, but his primary focus was playing the “groove.” Later, while earning a Bachelor of Aris degree In Percussion Perlormance at East Carolina University, he expanded his rhythmic and percussion related vocabulary, siudyi mallets ard timpani under Harold Jones. Il was during this period that he performed wilh such jazz greats ag Bill Walrous, David Samuels, Jerry Coker, and David riedman. : In 1977, he was granted a teaching apprenticeship at North Texas State University, — where he taught mallets and snare, while working on his Masters Degree in Percussion with Ron Fink and Robert Shietroma, and studying drums with Jim Hall, The inspiration _and knowledge Rick gained from these instructors prompted him to create Advanced Funk Studies. A text of original concepts, transcriptions of recorded works by his favorite drummers, and accompanied by audio cassetles, Advanced Funk Studigs was an immediate hit, establishing itself as a leading source of reference with drummers and educators the world aver. . In 1984, Rick raiocated to Los Angeles, where he has since enjoyed the opportunity of playing with a long list of leading figures, Including bluesman 8.B. King, rockers Neal Schot aad Pat Travers, as well as azz guitarist Noward Roberts. His versalilly has also been highlighted. with such top entertainers as Rita Moreno, Ben Vereen, and Martha Reevas, on the theme for television's "9 lo 5" series, "Fame," and the Quincy Jones produced soundtrack, Fast Forward. In addition to maintaining a full playing schedule in Los Anggles — teaching, doing sestions, and leading his own band, LATHAM, Rick Involves himsel! with producing, tecords and will soon rélease his first instructional video. we DO He hag also firmly established himself as a world class cliniclan. Appearances al such hajor gatherings as Germany's famed Koblenz International Drummers’ Meeting and the Frankfurt Messe, as well as the United States N.A.M.M. shows, have provided {he uninitiated with the opportunity to witness one of the new masters of contemporary drumset technique. : Er y] ee * Py Soo. Foreword : The purpose of this book is to present original, creative, and exciting exercises for the DRUM-SET in a very modern stylistic setting. These exercises will hone the Player's musical as well as technical skills while stil allowing sufficient Jatitude for one to develop his or her own personal styles. By the use of the optional cassette tape, the learning process is enhanced by hearing all of the exercises played using the proper fe! and phrasing. As drummers, meeting the demands which are placed upon us for "THE RIGHT FEEL" is something we alll strive to achieve. In order to meet these demands, certain _Slyles and grooves must be mastered instantly. Itis for this reason that a player should 7] | always work on new techniques that enable him or her to adapt easily to any situation. ; 7 ‘The exércises and patterns that follow have been found very effective in bringing about ’ this adaption process. My entire approach to the drum set stems from exposure to the rudiments at an _ early age. | realized the importance of the rudiments and learned how basic hand Patterns could be used around the drums. It is for this reason that | begin the book with what | call Contemporary Rudiments. These patterns are based on the 26 standard American rudiments but are more contemporary In sound (a modern Slick Control approach). Variations of these patterns will be used throughout the book. For players never exposed to the rudiments, these palterns will serve the purpose of basic hand ; 8xercises. To the players who have studied the rudiments, these exercises will Initlate rd grew and interesting ideas. rm i 7 Ir b = - working with them. Not Just hundreds of new licks, the exercises and patterns are i »merely a few suggestions to show you how the concepts may be used. Most of the instructions will precede the exercises. Be sure to read all of the text careluily. This will {.give an overview of what should be accomplished from practicing the patterns, Some « exercises will have multiple instructions. Read them all first, then choose and tackle one at a time. This way you will see how playing the exercises In one'way will help another. eons | am sure that you will see how these exercises will open hew doors for the development of your own CONTEMP ; The concepts studied in this book are the things you should walk away with afterExplanation of Notation ‘The notation used in this book is basically standard i h ; symbols with which the reader may be ‘cay standard percussion rotation. | have used some seg eS — Hit ; Opti )*- eo Bal of Cymbal Cow Bat i Snare Drum —— < _——— Tom 4 Tom2 : om 3 i- * : : . eS = - i ai Hat wih Foot Base Drum ' : 1 [ ‘The accents writfen are my suggested interpretation of that particylar pattem. Feel \ i {ree to experiment with different accents as you wish. ! ‘Some exercises will have no accents written. These are dofinitely open to your own ; interpretation. It is my suggestion to play every paltern with no accents at first. Orica: you have the pattern in your mind and hands, slowly begin to bring In the. accents. Many of the patterns swing (or feel good naturally) so the accents that are written, will automatically occur. mo, : F Nagra 4 [ © usroluw a/a E eminacbus afy | Biman 4a & emp 4/4 6ye Contemporary Drum-Set Rudiments * x Hand Exercises (16th Nole Sticking Patterns) 4 Toin Pek We ae itRulkn & «| 4 woni 16th NOTE PATTERNS Incorporating The Bass DrumEh al TPG ON) ait sen ones HE) oS sds Tai] a eal on ato att cit irthll “es - == ae Ah ER an (Uf fae] Us a = N 2 58 ce Be —E- Wee Q§ Q5 g Lop ap!=H cha i eel ih ae L ta ge Pees “T ast L eel aa eau) L i ta i or L SN a i wel A 8 te a As coe hae : eee — 10 eof ! ee) | | | ory 14 16 13 col eal EIA i = i STEIN) eu] ct fee =I if (rs ir arf Uh. GER) ue - + =| Soph ap) 4 icf + De aee( LB] cee (4 af sel I LT oe.{py Se ® LR 2 a au 20 ‘49 21 | i asl a | tT 24 Incorporating the Bass Drum 16th NOTE TRIPLET PATTERNS 23 ae ect as eat 2s eo eal oe eatseo Sep a 2 i et oat C = : ue ‘o ae . ser aor ae _ if « « 4 “y t n = a zi, cet i ft . o ae? = = ~ t UTR i 1 = wo 2 2 et esi =r ue i 2 : ea - = a : t ex! iT T « all HES et co o N tT = - = io ~_ rE ar ~ il T a - | ~y * ea! al if fr if oe . a ot ~= I 4 if eat ee ae? 2) eof “Tiere = aL if cm ny See i eet “= 4 a . 6 ze ae . ® cach 4 . at . of . el f ws ot ze woe acl ant ac ° gz 1 a “t i atthe | evel ef ant | 5 4

a Rot t SS ‘Original Pattern A Aa ‘ Rt Ah Ab JE Intorpretattan 3 interpretation 3 Original Pattern Interpretation 2 | sl “| el fl “| al D4 “| LA oA LLLP anmomomns: Interpretation 2 39oS ae Hand Doubles Against Single Bass Drum Strokes nt Just as practiced in the drum set interpretation exercises (two bass drum strokes agains! a single hand snare stroke), it is also important to become accustomed to playing two hand strokes against a single bass drum stroke. This is already a more common or familiar practice. However, | think you will find tie following exercises very uselul and challenging. These exercises willl be written using only hi-hat, snare drum, and bass drum. Other voices may be used. Practice incorporating these patterns into two or four measure phrases. (also try these playing both hands on the snare drum, bass druni as wiitlen) PT GR oR A oR AUAAL ALALARL AL RAL ALAA L AWAaR RURAL ALAAL Combination Hand and Foot Doubles aS a4 ah aR « fH 2 = {Mal = 2 . “ = = = = = = “ © = « Los © 2 = | ‘Bl: : i oy . = te 2 « fel: : : : = = « ) Ammon onALAA RR Hand Doubles Against Single Bass Drum Strokes RURAL Triplet Patterns RoR AL 3 3 I na oun RB a a Ta 3— 3 a x= AD tant omer a ty 3 I Ird Combination Hand and Foot Doubles iJ , Triplet Patterns yy At Lp mt iat » yh ’ C = > > > > z vis Eat A ast it Agee tpn 9fon Hat Foot Substituti H Fdination, thatcan » rary independence study. “oF por you can develop four way co: signed as a contemy with the foot, ng exercises are de: 1g the Hi-Hat close ves. porated in different groo soundiny The followin theo B be sey ‘y tes es hea 22 ae es : jee Ano hea a0 Ave ae = hes =-hh heat we Ave ae how het es jes we wo ew ae ‘ oe 2 « es - hea is * tej ve h ze ae Mee \ hes eo fers ae 44.hoe es hee 18 Lif. 19 oS al aL L a fn t 20 jae l “1 vl SIE l “|| ae) ) m ee FLA LOT LLL ‘eal l [| teal J seul> > > ah Lime ALAL Lentnin oo ea SS Using Hi-Hat Foot Substitutions 1. (One Measure Groove Exercises) The following exercises are just a few of the possibilities for using the @ previous combinations of Hi-Hat foot substitutions. After mastering these patterns create some 6f your own. {Be sure thatthe Hi-Hat close is loud enough to balance with with the other voices of the set! reate a nice “chip” sound.)“ pes bog a Sed tem ad hd and ed feed See) mt tT 4 = a)Contemporary Triplet Exercises { Hand and Feet Alignment _- (Shuffle, Half Time Shuffle, Hip-Hop Patterns) The lollowing exercises are all derived from various combinations of triplets to create different types of shuttle feels, ayer ty important lo make sure that the strokes that fall logather are Played precisely. This is necessary for the Proper feel. Olten these typos Mt R Pi Patterns are rushed or the foot patlenneeae not align properly with ihe . hands, : t bs. Some of the following stickings are very tricky. Start them slowly and tnake sure you maintain i the triplet feeling (Placement of the backbeat is crucial}. With the shuffle patterns the backbeat will fall on beats 2 and 4 (emphasis on 2. and 4). "filth the halt time shuttle the backbeat will fall on beat 3 (emphasis on 3)- Pith the hip-hop patterns the backbeat will fall on beats 2 and'4 (emphasis on 2 and 4), ee ae Alter mastering these exercises alone wilh the proper feel and phrasing, incorporate them by Playing them as the last measure of a four meactne phrase. Shuffle Hand AlignmentRoe Ret = = tat BEER LER ce m EE 3 3 oS Cache Reniwia ry 3S 3 3 8 + Shuffle Patterns Foot Alignment Bon nh aR na ah pe 3 3 3, Ra La, 7 7 2 > = = a) Fo oAR wR aw a a a a a 5) « Sep Tok RoR R nA Aw t a3 3, ado 3 ee | al = : > Ron Ro RRs aR AR a <3 a SS I 49Half Time Shuffle Patterns RR OS 3 a3 a t AR 3 3 R oF, Wem Ro RR RRO eee eee ° seal ‘ honk a ane 34) 23 = 3, . ee t o Ty T wn ah og el . el “Ih *E “ anal awl real . “cE «l « | elt «J © ei = I eu SEa oo I d ; To make sure of the alignment between hands and feet you can also play the shulfle pattomns » » and hait-time shuffle patterns using the following slickings. (Bass drum and snare as written. f Shuffle Patterns 1 : ie J = yo H , J i. J 1," i) - 4 4 ee B Ranh oR RRA t Ta 3 3 A sae is =~ ae a ar : c 3 : Half Time Shuffle mine aePoaere ReUR LL ACEH Ee . 3S 3S 3S, 3 3 3S, IS, I eS eee, AR AAA AHA RRA A = 51Ghosting The Shuffle This technique has become very popular. In tact many people do it without even knowing it. ‘The ghost is simply the unaccented second stroke of a triptel pattern (shuttle). . $ eaeantantania eo SS SS CT om te The [ell strokes on the snare drum are played very tightly. Filling in the triplet (shuttle) pattern and creating a smoother, rolling feeling. ‘The following exercises show a few ways fo use the ghost. Incorporating the Ghost 8 a 8 Bas He 7 Bosle Shullle PatternGhosting The Shuffle This technique has become very popular. In fact man le do it without aven knowing It. The ghost simply the unaccested second stroke of & plat pattem (shut). fn n RA LOR komme Lenin ms SS IS ee The loll strokes on the snare drum are played very lightly. Filling in the triplet (shuttie) pattern and creating a smoother, rolling feeling. “The following exercises show a few ways to use the ghost. | Incorporating the Ghost’ R a 8 3 I 16S ruoo® Ru 3 9 eB t = 1A Shull With Ghoat Ru FerRart Hee 3 9) IS 1c tata With Right Hond BackbeatHe RA eR RE nwa ALRat RLAALR a ee ee 353 os 2B fiolt Time With Ghost With Righi Hand Backboot —~ j For ‘some great shuffle grooves go back and play the shuflle patterns and half tine shutfle patterns using the ghost when possible (some examples played on tape). a ee Be ho 3 = g : : : : : 3 5 When playing the backbeat followed by this ghost with the leff hand the backbeal must ramain strong while the ghost must be played sollly to match the other ghost strokes. The following two exercises must be practiced until the proper teal Is achieved. SESCVTITSS ESCCCCE Re ALAR RALRR A ALAA LAR aA L te ee eee ee a 3 I I 53 miShuffle Patterns Using Hi-Hat Foot Substitution _ The following pattems are based on a basic shutlle pattern (Ex. 1). The Hi-Hal close with the foot is then played on dilferent paris of the tripiet lo create some nice shultie grooves. Again alignment is very important here especially when the feet play together. nia nua pte te ee Pe + {ete a 2 Basle Shuttle Pattern Run Ru oR L Ree ee eeee wee | For 2 vary challenging exorcise go back and play the shutfle patterns and the hall time ghufile patterns using the folowing hi-hat pattern. Bass drum and snare as willen. Example shown: Shuffle Paltern #1. AA on A ow AR RA n 3 al SS es = Ex. 1 HbHat Triplet Pottorn: . Make sure that the hi-hat open is on the third stroke of the triplet and closed exactly on the beat. The tendency is to open the hi-hal too soon. For more extensive study of using hi-hat fool substitutions with shullle patterns: once again, go back to the shuffle patterns and halltime shuffle paiterns using the following cymbal and bi: hat {dol substitution patterns (A, 8. C,D. Fy ¢ " ‘Shull Pattern numbor 4 with Hat Pattern Example Shown: 2E) Shulfle Pattern #2 Cymbal Hi-hat Pattern E 6F) Hall Time Shuffle Pattern #6 Cymbal Hi-Hat Pattern F = = Ex. 6F = azo oan a® oa Roa aw RA on ee fs a ta He TF 7 | ad Cymbal Hi-Hat Patterns : RAR AR AAA A AR AR AR A SS = 7 B D SS Se F 95Hip-Hop Patterns The following exercises are just a few examplos of how to use triplets to create some intresting hipshop (or double time shuttle) falters. These patterns should be played with a interes gel. ‘Strive Tor a tempo of 8B » 100 BPM. Tere lay the pattems as even sixteenth. ‘Gace you feel comfortable with then. My playingall of he Patterns with the alternating sticking (2x ByPwith emphasis on the "ands’ of the beats). of the Pes foot alignment again is very important . norm RA AA AR nA RR OR A noun un um oun LRoum ume oe gt gata Banh Sas pacdoar Basia toms sated HER ee —— Basle Hip-Hop dip Hop wih Atenating Stokes a ora aw nA AA AA RR ORR OR o3oy sabia 3a Basde ee iu, nora nh RR OAR octonsosa's Po Hip-Hop with Hi-Hat Subsituton 5614 , | Contemporary Drum Set Patterns Y Combination Patterns And Fills ’ J, The patterns and fills that follow are just a few of the combinations possible when using the 174 techniques we have covered throughout this book. Alter mastering these, experiment with yh creating patterns of your own, tart oat arciat_ac * AL oft mine Went J ' ' i" ‘ , 'wen] id pS ERI] 1 L | he L | ier “he - : a ml ref he acl -[ a Ae fog ce) : ~ (ea rel er ae “I ee het a | Eig sea a 8 8 3 ° 8 ¢ re bef rH| = Af BY) SE) ER OE : ml AS tee I te tel a re L tony 2 BB)! © ol ‘ el 2 a ey iJ ml T 4 nel ea 0 12.4 Be Phe ey . 1 be om rt ra et |