19397
Pete Sweeney
30-Day Drum Workout
Includes:
•	Daily warm-ups for hands
and feet
•	Two complete 30-day exercise
routines
•	Exercises on the snare and the
complete drumset
•	Lessons in hand and foot technique
•	Reading music is dearly explained
ACKNOWLEDGEMENTS .......................................4
INTRODUCTION
5
SECTION TWO—BASIC TECHNIQUE
Holding the Drumsticks
Bass Drum que ...
Hi-Hat Technique^.....
9
Basic Strokes in Drumming
10
SECTION THREE— warm-up exercises ..........................................12
2 CONTENTS
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www.drumnet.ru
sheets & playalongs
SECTION FOUR—
THE PROFICIENCY WORKOUT____________________16
DAY ONE_____________________________   16
DAY TWO................................17
DAY THREE__________________________    18
DAY FOUR.............................. 19
DAY FIVE.............................  20
DAY SIX.............................   20
DAY SEVEN............................  21
DAY EIGHT..............................22
DAY NINE_______________________________23
DAY TEN............................... 24
DAY ELEVEN______„„_____________________25
DAY TWELVE.............................25
DAY THIRTEEN_________________________  26
DAY FOURTEEN............................	27
DAY FIFTEEN..™.........................28
DAY SIXTEEN__________________________  29
DAY SEVENTEEN IBiaHUtiMiiauMtiMaiauMkiaiaiiummpibi 30
DAY EIGHTEEN............ _.............30
DAY NINETEEN__________________________ 31
DAY TWENTY.............................32
DAY TWENTY-ONE_________________________33
DAY TWENTY-TWO-----------------------  33
DAY TWENTY-THREE....................   34
DAY TWENTY-FOUR.___.________________....... 35
DAY TWENTY-FIVE....M.....«.............36
DAY TWENTY-SIX_______________________  36
DAY TWENTY-SEVEN______________________ 37
DAY TWENTY-EIGHT...................... 38
DAY TWENTY-NINE___________________     39
DAY THIRTY____________________________ 39
SECTION FIVE—
THE EXTENDED PROFICIENCY WORKOUT . 40
DAY ONE_________________________-__________40
DAY TWO.................................— 41
DAY THREE________________________________ 42
DAY FOUR .............................    43
DAY FIVE..........................  ,..«..43
DAY SIX_________________________________  44
DAY SEVEN...........................„... ,45
DAY EIGHT_________________________________46
DAY NINE..................................47
DAY TEN.	 47
DAY ELEVEN ...........................    48
DAY TWELVE..............................  49
DAY THIRTEEN_____________________________ 50
DAY FOURTEEN____,_____________,_____..........51
DAY FIFTEEN ...	.51
DAY SIXTEEN.............................  52
DAY SEVENTEEN ........................    53
DAY EIGHTEEN_________________________     54
DAY NINETEEN......................        55
DAY TWENTY .............................  55
DAY TWENTY-ONE__________________________  56
DAY TWENTY TWO..............«.............57
DAY TWENTY-THREE .....................    58
DAY TWENTY-FOUR_________________________  59
DAY TWENTY-FIVE .......................   59
DAY TWENTY-SIX..........................  60
DAY TWENTY-SEVEN	 61
DAY TWENTY-EIGHT_______________________  .62
DAY TWENTY-NINE.........................  63
DAY THIRTY.................... ...........63
CONTENTS 3
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About the Author
Pete Sweeney has been a professional musician since 1983 he studied with
Dave Calarco, Joe Morello and other notable drummers He also
attended the Drummer’s Collective of New York City
Pete has been a faculty member at the National Guitar Workshop since 1993
He has performed wth Duke Rob- ard, Ronnie Far I, Mick Goodnck, Frank
Garnbale, Nick Bngnola Vinne Мосле and many otners
Adcktio^al y. he has toured the United States with vdnous musical groups
and has appeared on numerous CDs featuring a variety of musical styles
from the "Big Band' era to rock'n'roll, funk, blues and azz
Pete performed on a Gramm y-norr mated CD with the Jay Iraynor Big Band,
«nd on the soundtrack for the Miramax film. The Castle " He has toured
nationally with Tony Kenny of Ireland, and with "Dangerous- Dan Toler.
Pete Sweeney endorses Vic Fkih sticks, Aqunr ;*r Hr .m heads ana Sabian
cymbals
Pete lives in Chatham New York.
Acknowledgements
I would like to thank: Neil Larrivee, Terry Shaw and Bob
Boos of Sab*an; my teachers, Dave Calarco and Joe
Morello; Chrt$ Brady and Roy Burns of Aquanan, N«ii
Larnvee of Vic Firth; my parents, Patrick and Patr»oa
Sweeney; my brother Paul, my wife. Robin; and Nat
Gunod and Dave Smolover of the National Guitar
Wor< shop
4 ABOUT THE AUTHOR
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Introduction
Welcome to the 30 Day Drum Workout. This book is designed to help you in rr any ways It wi II prryvide
a solid pract»oe routine that cowers various jspects of drurn-set technique These techn ques w help
you with speed, endurance. accuracy, consistency and f u dity Because of the nature of rhe instrument,
we drummers are playing almost constantly m any given performance Therefore, practicing technique
i$ a way to insure that we are go ng to be in snape for the g g and uphold our obligation to the tm.
This is no ему matter1 It requ-res a consistent commitment to о г acting that addresses longterm
goa s This book wll help by providing a dear easy-to-follow rouone of interesting and essential ew
cises for the hands (Hand Frtness exercises} and the feet (Set F tness exercises}. These exercises can—
and should—be used f<x all styles of music Whether you play heavy metal or jazz, all of these tech-
niques can be adapted to your particular situation.
There ar* two workouts n this book. I he Profit ency Workout is f<x intermediate level players. and The
Extended Prof ciency Workout is for more advanced drummers. Advanced drummers should take □
good loo*, at The Proficiency Workout too—you may f nd that г w I he p fill some gaps m your training,
tf you are using The Proficiency Workout and it ceases to challenge you, move on to The Extended
Proficiency Workout.
There are several ways you can use this book:
1.	Learn the w^m-ups and go right ’hr о ugh the 30-Day course as prescribes
2.	Look for exorcises that remedy specific problems you may be having
3	Work on just the hand oxcroses
4.	Work on just the foot exorcises
5.	Work on just The full set exercises
6.	Just use the warm up exercises
7	Play all exercises using the brushes
Start by spending about a week on the warm-up exercises. This w II provide you with a good fourda-
1 on for the workouts that will follow Next, begin earning the individual worxouts. Where there i$ more
than one exercise on a particular day, take your time and be sure you have control over the primary
exercise before you move on to the other*, which bu Id on the original concept. This may take more
than one day, so don’t be na hurry to get to the endl You w i f nd that this material is more beneficial
after you have spent some time fine-tun*ng it. Be patient and it w II happen
After you have been through the workcuts once, you will know how to customize your workout- That
may mean looking for consistent weaknesses in your own playing and finding exercises to remedy them
You shou-d also spend Time creating venations of your own based on the principals put forth in th<s
book This will так» practicing more enjoyable and help your own creativity. As w th any material, you
are basically /earning how to learn Hopefully, the system presented he-e will help in organizing you»
praci»ce time so that there isn't time wasted *n the practice room.
DO NOT SPEND ALL YOUR TIME ON THIS MATERIAL’
Technique is only a means to an end The end resu t s playing musk. so don’t spend all of
your time on technique. This mater al will help you earn how to play, not what Ю play You
wxll play what you hear and what you practice, so strive to achieve a balance m the material
you work on
INTRODUCTION S
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Section One S'
Before we begin with the ^vorkouts. let’s spmd a few л-aments kxA ng at the fundamentals of rhythmic notation for the
drums. Th s will help m learning the <-*ercis«s ths* follow *nd can be used as a reference later
Note Values
Whole Note, 4 Seals
Whde RMt. «1 Beats
H*lf Rest, 2
I ’a 4 Note, 2 Bean
* *		9	- Quarter Note, 1 Beat	* r	J	i	i	* Quarter Rest, i Beat
Л A	л	/ \	Л		Л	Л	
1 \ b s	\ 4	h 4 - Eighth Note, И Beal		•» *		*r ?	- E»gNh Heir.’6 Bear
* • * •	• t	* *	Л /	Л Л	Л Л	ЛЛ	
MM	ци • * 9 ♦	• S’xteenh N . :«?. ’Л Beet • • • «		7777			- Sixteenth Rest, К Bea:
The Staff and Measures
All the music in this book is written on а group of five lines called a staff. Using ba/ /•nes. the staff is dvioed into
measures Each measure will contain a certain number of beats. The def sign tells you itrs drum music, although you
may see the bass de4 *>' sign used in some publications. A double bar is sometimes used to shew the end of an
example or section.
Clef
Bar Lines,
Double bar
—Measure I
hwwt 2 — — Measure 3	Measured—ti
At the beginning of each exercise, you wi>l see a time signature. The top numbe* tells you how many beab are in
each measure, the bottom number te Is you what lend of note gets one beat.
i Four beats per measure
A The quarter rx;te , gets one beat
There wil be examples in this docx that are not in [ time, so be aware of the time signature Here are some examp4e*
showing other time signatures:
6
SECTION ONE—Reading and Terminology
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Floor	Bass
Tom	Drum
1st	2nd	Snare
Tom	Tom	Drum
Ride	HI-
Cymbal	Hat

Basic Drum Notation
Below is a key to urdemanding the drum set notation in this hook The system is very logics I in that it reflects
the way your drums are set up: the cymbals are on top, the f»r$t tom and second tom are on the next space
and line down, the snare fc$ in the middle and the floor tom and bass drum are on the bottom
Crash
Cymbal
Repeat Signs
The repeat sign means to repeat the measure or measures agam Play these two measures twice.
I here are a few effects that also need to be written. They include the open and closed hi hat and the
hi-hat stepped with the foot.
Open
Hi-Hat
Closed
Hi-Hat
Hi-Hal
stepped
The Metronome
A metronome is an adjustable device used by musicians to keep steady time and to find specific
tempos. It is very useful for checking the evenness of your note values and pinpointing problem areas
as you practice. You should use a metronome as part of your daily practice routine. The exercises in
this book will have suggested tempos (speeds) Begin study ng each exercise at the indicated tempo
(or slower), Then, as your confidence builds, work on getting faster. The tempos are only suggestions,
and therefore are not set in stone It« а/ways better to have consistent contra/ at a sfowef tempo than
to play fast without being in contra/ The metronome will also help you measure your development
from day to day, end can help you make steady improvements overtime



Metronomes measure tempos in beats per rr mute. So a tempo marking such as . - 60 tells us to set
the metronome speed to 60 —sixty beats per minute.
Dynamics SYMBOL	NAME	DEFINITION
/»/»	p«an<ssrmo	very soft
P	piano	soft
	mezzo forte	moderately loud
f	forte	loud
Jf	fortissimo	very loud
-  — -	crescendo	gradually getting louder
	decrecendo	gradually getting softer
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1ТПЖТПИТГ~ШГ
Section Two
In tbits, section, we Will take a look at basic hand and Foot technique We will also cover the basic strokes
for accented and unaccented notes This is the foundation for all of the workouts to follow.
Holding the Drumsticks
In theory, it should be easy to hold the drum sticks, but many rimes we make it more difficult than it
needs to be. Always keep in mind that you want a natural approach to holding rhe sticks—they should
be extensions of your hands. In the paragraphs that follow, we will investigate the two basic ways of
holding the sticks.
The Matched Grip
In a matched grp, the right and left hands hold the sticks m exactly the same way. The thumb and index
finger should grp the stick at the balance point (approximately five inches from the butt end). The stick
will be balanced at the first knuckle of the index finger and the flat part of the thumb. Keep in mind that
the stick should be gripped just enough to hold it securely but not squeezed or pinched. Squeezing too
hard i$ an undesirable technique that can cause all kinds of hand problems, especially at high-volume
siluations where the drummer «s really ‘hitting it* Be sure to keep the space Detweer the rhumb and
index finger open. and the muscles relaxed.
The Traditional Grip
In the traditions.! ghpr the left hand holds rhe st ck differently than the
right hand. The right hand holds the stick as t did in the matched grip
Place the left stick in the socket between the left thumb and first finger,
with one third of top of the stick (from the butt end) extending behind
the hand.
The first two fingers should rest lightly on the stick to act as a guide.
The stick should rest across the 3rd finger as a support. The 4th finger
should rest against the 3rd finger.
SECTION TWO—-Basic Technique ,	.
https://drumnet.ru/drum sheet 459l8.(i5KbXiW0W45ft
8
Bass Drum Technique
There are basically two techniques for playing the bass drum; heel up or heel down (flat-footed). Both are
effectrve and both should be practiced equally. The heel-down technique <s good for control in softer
passages and feels good because, with the loot down on the pedal, the rest of the body feels balanced. It
is also great for slower tempos for this reason The heel- up method is great for playing at louder volumes
because you have more power when using your whole leg to play the bass drum, h is also effective when
you want to play fast, mult pie notes. Because the leg is raised, the ankle has a chance to manipulate the
foot in a looser fashion and achieve quicker bass drum beats
Heel Up
Heel Down
Foot-Boa rd Slide
This is a type of heel-up stroke that n used for playing rapid
double strokes. We can get quick multiple notes by making an
initial stroke wth a downward motion and then $1 ding th® foot
forward on the second note. There will be exercises to follow
that use this technique.
First Stroke
Slide to Second
Stroke
Hi-Hat Technique
There are a number of ways to play the hi hat They are the heel
down (flat loot), heel up and sde-to side techniques As wth the
bass drum, nil are valuable and should be practiced individually.
Heel Down
Heel Up
Side-to-Side
For the side-to-side tech nique, with the toe as your anchor, swing
the heel back and forth (nght to left) on each side of the pedal.
This provides greater freedom of movement than the usual up
and down motion, and wil provide for greater endurance
during long hi-hat passages.
ЯИ
Right
Left
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9
Sasic Strokes in Drumming
There are four frequently used strokes used m drumming They are
Full stroke
Down stroke
Tap stroke
Tap/uD stroke
When we play, we use all of these motions constantly but usually on an unconscious level. Many drum-
mers never break down these strokes in practice, so they often play in very unnatural ways Generally,
we are only aware of these strokes when something isn't working. If you have never studied this kind of
material before, you should spend a few weeks working on it in a very focused manner Thrs kind of
practice wifi pay off in a big way
The Full Stroke
The full stroke is most oftun used for accents U note played louder than the others around it). It begins
with the tip of the stick pointed at the ceiling, o* at a 90-degree angle Throw the sock down to the drum
and allow the stick to rebound back to its original position. You may feel the urge to physically bring the
stick back to its original position. This is not necessary The stick will return naturally, on its own, if you
simply accept the rebound and control it There is no pulling Involved It is much like dribbling a basket
ball—we throw the ball down and it rebounds on its own Remember, for every acton there s an equal
and opposite reaction If you throw the stick down at a certain velocity, it will respond by rebounding at
an appropriate speed. The trick is to control that rebound and use it so we're not working hard to get
results
Down stroke
A down stroke is used to play an accented note when the next stroke is not accented. We start from a
full stroke position, then stnke the drum and keep the stick down low rather than let it rebound com-
pletely When you stnke, don't tense up your fingers <x hand m an attempt to stop the stick. Thrs rs
where many drummers hurt their hands—by freezing the stick as they make a stroke. It doesn’t require
that much tension to keeo the stick from bouncing up. Notice how much tension and release is in-
volved when practicing these strokes.
10	SECTION TWO—Basic Technique, ,	z	,
https://arumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
The Tap Stroke
The tap stroke is i*cd for an unaccented note. We simply strike the drum from a lowe* level and allow
•he stick to lebound back to its original position- This is done primarily when the following note л also
unaccented.
The Tap/Up Stroke
The rap/up stroke is used when playing an unaccented поте followed by an accented note. Begin by
playing the tap stroke and then raising the slide to a full stroke position after the tap has been made.
This naturally prepares the nand for an accented note to follow.
Exercises Using the Different Strokes
Following are a few exercises using all of the strokes discussed in tbs section Practice these slowly Lj - 60)
and observe the stick height and other motions very densely. These strokes will help you make the differ'
ence oetween accented and unaccented notes more distinct and make them more natural to play
#2 D T/U T T D T/U T T
R L R R L R L L
F  Full stroke
D  Dawn stroke
T  Tap stroke
T/U - Тар/up stroke
 accent
*3 FfFDTTTTAJ FFFDTTTT/U
RRRRRRRR LLLLLLLL
https://drumnet.ru/drum sheet	Technique 11
Section Three X*
Hand Warm-Ups
Before you practice or perform, it is always a good tdea to warm-up with exer&ses that loosen-up your
chops. This section w II provide a few to get you started The idea <s to warm-up gradually rather than
jump right into a vigorous workout so take the exercises slow and steady, then worx up to faster tem-
pos Runners don't warm-up by starting out at their fastest speed—they stretch out for a whdo and
eventually work up to speed. In this way, they avoid possible injury. Using the suggested tempos as a
guide, we can apply the same pnncip e to playing the drums.
*7^.
Hand Warm-Up #1
The Single-Stroke Roll
Start by playing a & rig&Jjfok. roll (one stroke pe< stick) with full stroWu. Make sure
that all the strokes are eveAh sound Be sure to end every stroke al the 6hre height
from which you began. Do this at  70 and cont nue for at least three minutes. Then,
increase the tempo. Th»s exerose will he p loosen your wrists, forearms and beeps,
and will reinforce an important concept for playing full strokes: always p/ay off the
drum rather than into the drum In other words, let the stick rebound freely.
Now reverse the sticking so the toll starts with the left hand. If you are left-handed,
you can choose to reverse all sticking instructions.
Hand Warm-Up #2
Double-Strdk^ Roll
Now lets play the dou>6(e-stroke roll (two strokes per stick) with full Strokes &e sure
that each stroke is the height and sounds even Start slowly L 7Q) and con-
tmue for three mi notes. Gradually increase the tempo as your control over the double
strokes improves.
Reverse the sticking and start with a left-hand lead
Handt Warm-Up #3
Combining Double and Single Strokes
Now let's put tli3?j
combination oxen
gether in a
strokes for
de strokes for four bars.
Both the singles and the doubles should sound the
same, with no change in dynamics (degree of loud-
ness or softness). The secret is in keeping the height
of the strokes even
Play 4 times
Play 4 times
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sheets & playalongs
SECTION Mjs://^rumn^tEru^rum sheet 459l8.(i52(bXiW(iW45fr
Hand Warm-Up #4
Continuous Eighth-Note Exercise
This exercise consists of playing continuous eighth notes with one hand for several minutes This is e
tremendous warm-up that »$ great for but ding endurance. Start with eighth notes in the nght hand at a
tempo of J - 100. Play the eighths with full strokes from about 10 inches off the drum head or practice pad
Keep an eye on the direction of your strokes, you want them to be as straight as possible—directly down
and up, with no sideways motion. Remember that the shortest distance between two points is a straight
line. Do the$ for at least one mmirte, but step and rest if you feel tension building in your arm or hand.
Now play continuous eighths with the left hand. Again, practice this for a minimum of one minute.
When you have completed this with both hands, move the tempo up by eight to ten beats per minute
and repeat the exeroso Eventually, you will find a tempo at which your weaker hand cannot keep the
eighth notes going for a full minute When you arrive at this tempo, modify the exercise by playing
eighths for only 30 seconds
Since the pornt of this exercise is to build stamina, you should practice it for long periods of time After
domg this exercise for a few weeks, you will notice a big difference, especially with the weaker hand.
Make sure you are paying attention to your wr<st muscles; keep them relaxed and flexible Feel free to
extend the exercise longer as your endurance progresses
One Minute
RRRRRRRR
rm ~
One Minute
Hand Warm-Up #5
Single-Stroke Roll
After completing Warm-Up #4. you may want to tag on an additional minute of a
single-stroke roll in sixteenth notes Whichever hand you worked with last in the con-
tinuous eighths becomes the lead hand for tbe single-stroke rol Keep m mind that
ths should be done at tempos where both hands are capable o< playng the exerase
precisely. H one hand s fiavng trouble, slow the tempo down to a point where bsth
can bold the tempo with eighth notes in a relaxed way Then add on an additional
mrute with single-stroke sixteenths.
L R L R L R L R L R I R L R L Я
Hand Warm-Up #6
Eighth- and Sixteenth-Note Singles
Another great warm-up is to play one bar of eighth notes and then one bar of sixteenth notes, all in single
strokes. Then play another bar of eighth notes followed by two bars of sixteenth notes, still all m smgle
strokes. Build thrs up until you are playing at least eight bars of sixteenth notes in single strokes to every
one bar of eighth notes. You can play more rf you wish, but eight bars r$ a good starting goal. As always,
check for evenness. Start at J - 88 and take the tempo up from there*
R L R L R L R L R L R L R l R L Я L R L R L R L
I JxSrE* J J Je
R I « I R L R L RLRLRLRlRlttLRLRL RLRLRlRI. RLRLRLRL
J* -J-J J t-J-JJ J	j J J J J
n Я l R L R L R L R L R L R L R L R l R I R t R l R L F L R L R , R . 4 I R I R L R L R L R L R L Я L P Pl
Continue
SECTION THREE—Warm-Up Exercises
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13
Set WarmUps
Here ane a few exerdsw th(l will ir<rfrSs£ you* stamina. flftubi hy and aocu Facy when play ng the bass drum:
Set Warm-Up #7
Bass-Drum Pedaling in Eighths, Triplets and Sixteenths
Start by playing two bars of erghth по1ез followed by (wq b*rj of eighth-note ir^fois (three strokes per
tea?) а по тпеп two bars cr sijceerrh псгеь Repeal Ih 5 л mm -num j-l eig_t t me 5 A good мд nning
tempo is J - 6D. Try doing this and making tun* lhe trir4ftion* from eighths to triplets and triplets tn
sixteenths are secure. Initially do this *с*сф4* uting h**l-dcwi bass padaI technique, letting the bass-
drum beater com* back six to S*v*n inch** From (he bass cfrum head.
As you increase the tempo, it will fe*l better to Гач* your ley and phy this with the heel-up technique.
You will also need to dwuie th* distance <4 your Stroke with the bass-drum pedal. Feel free to extend
the number of твашипи и repefftlom for each note value.
You may want to add a stepped hi on quarter notes as you play this warm-up. Ycu can move the
stepped b-hat from quarter r<te$ to eighth notes as you work through the warm-up. This is gFeat for
coordinatid-i between th* feet.
Set Warm-Up #2
Bass-Drum Accents
Here s an exercise for working on accents with th* buss drum while playing
continuous eighth notes. Start at J  БС.
Now play accent tfariaUcns. Make wre the кип ted end uweesnted notes sound diWererrt. The trick is
to play the unaccented notes much quieter, f«rfn cfo« to the head, and to hit the accented notes hard,
from further away. This is a tremendous w^nm-up for the foot. When you* foot feels like rt^ going to fall
off, stop!
К SECTION THREE—Warm-Up Exercises
https://drunnnet.ru/drum sheet 459t8.(i52(bXiW0W45fr
After we have- warmed up with the hands-and feet, il^ time to move on to some exercises that usethe^neie
drum set. Hare is a series of exercises to increase fluidity чыhen moving around the set:
Set Warm-Up #3
Clockwise Around the Set
This energise hj$ four tirtHfrlh notes on each drum. Start diis at J  S0 and then gradually increase the
tempo. Make fvFt your Strokes are hitting rhe canter of each drum.
KLRLULRLRLRLSLRl RLRLRI RLRLRLRLRL
R L R L *tc.
Set Warm-Up #4
Counter-Clockwise Around the Set
|Thi$ fixer-jiap rtvtrits the direction of Warm-Jp *3. Watch Гог accuracy
R L R l FT l R L etc.	RLRLRI ff L «с.
Set Warm-Up #5
Two Sixteenths per Drum
This exercise has two sixteenth notes an each drum.
ft L R I ft l RlAlRLRLftL RLftLft-
RLRLRLRLRLRLRLRL ft L It L ate.
Set Warm-Up #6
Combinations
These are combinations o-f W^rm-Ups and #5. Spend lots of time ^ith these!
R L R _ R L R L lito.
SECTION ТНЯЕЕ—Warm-Up Exerts 15
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Section FourThePr^iciencvw°ri(oijt
The workouts are d«v ded mto two categories, Hand Fitness and
Set Fitness Many of those workouts begin with a basic concept
that is expanded upon <n the next few days. Spend extra time
with the original idea before moving on to the variations that
follow. It may lake a few days of practicing for some of these
I.Use a metronome and observe all of the suggested
tempo markings. Start each exercise at the indicated
tempo and then increase the speed from there It is
also a good idea to turn the metronome off, continue to
play and then turn it back on to see if you stayed with the
tempo. Do this often I Don’t always rely on a constant
dick to develop your sense of time.
2.	Keep a record of your practice activity This is great for
staying focused in the practice room You can record
your progress in a notebook and look back to see where
and when you have improved.
exercises to feel comfortable and under control. That's okay
There's no need to rush. Take the extra time and resolve any
difficulties you may have. Here are a few suggestions for practic-
ing these workouts:
3.	Record yourself practicing. This enables you to l*$ten back
and immediately make adjustments to your performance
Record yourself playing with a metronome and listen to
hear if you're playing with it accurately.
4.	Use the warm-ups in the previous chapter before doing
these workouts. You will feel much better having warmed
up before any vigorous practice
Set Warm-Ups jf.
Set Fitness #7
Take the accent patterns from Hand Fitness and double (ako play) all the accented notes on the bass
drum Make sure the snare and bass drum accents are played exactly together Play quarter notes on the
16
SECTION FOUR—The Proficiency Workout
https://drumnet.ru/drum sheet 459l8.(i52(bXiW(iW45fr
DAY TWO
Hand Warm-Ups
Hand Fitness #2
H*rt #re fOffl* more accents For the single-stroke roll. Slay relaxed and don't squeeze or pinch ths
ftida It you are making the accents. Much of the volume will come from the height ol the sticks as you
ач making the droktt.
ft L ft L iric.
These accent patterns have Гао accented sixteenth потеэ in succession. Make ijre ihe accents an; ctesr
and focusad, with lots of contrast between loud and soft, before ycu push the tempo up-
Set Warm-Ups #l-#6
Set Fitness #2
$
Lei's take the accent ideas you've Ьечп working on ind apply them to the drum set In two ways. The
first will he to play all accents on the toms. Play th* right-hindsd accents on the floor tom and rhe left-
handed accents on the small tom. Alt unaccented strokes will be played on the snare drum. Play
quarter notes on the baas drum, adding the hi-het on bn it* 2 and d
RLRLRLRL RLBLRLRcRLflLftLRL
"."г-
The second way we can use these accent patterns is to place all accents on the crash cymbals doubled
with the bass *um. Onre again, the unaccented strokes are played on the inane drum,
RLHLRLRLRLRLRLRL R I RLJtLftLRLRlRLRL
,	, SECTION FOUR—The Pnafioency Wbriout 17
https://drumnet.ru/drum sheet 45SI8.652(bXi^inw^i45№
DAY THREE
J-?Q
/ ]E! D= 1И -A-Ql^lil
Hand Warm-Ups
Hand Fitness #3
Th is wqrfcnut sta rts with four different stickings for the double-stnoke r<rfl. Listen for the even ness of you г
doubles, especially the second stroke. Don't rely on merely bounchng the seco nd strake, but make it a
wrist stroke with the same height and volume as the first
LLRRLLRRLLftRLbftft LHRLIBRLLRRLLRRL
Left takftthe first sticking and add MtWHfcl. Ulis will helpyOu develop th* evenness erf your strokes., and
will improve your ability in accent anywhere in the dcuble-ttroke roll.
R R L L *t:
Set Warm-Ups #7-#6 цДЕ.
Set Fitness #3 'Tt*
A great way to use doubles is tn break them up around the sei. Here s the first sticking of the dcnJ>le-
sirokfl roll fRRLU braken up between different drums.
RRLLRRLL Ш	RRLLfiRLL ate
Here ii a WOffcout thrt uses broken-up doubles with a changing sticking pattern. This will get -you
moving around the S4t ir some very interesting ways.
J-W
ft ft _L I 9fc.________ ___________ ___________ R . L R E . L R etc______________________ ___________
с^Я^ЕЯ Я^Я^ЯЯ	Е^Е^ЕЗ f ч	f f ч^^*	1 1 г~п 1 1
jT*J	;|||i	A
18
SECT,ON ^psV/cfrumnetJгиУ^runTsheet 459I8.(is2(bXi^iXi^i45(^
DAY FOUR
Hand Warm-Ups
Hand Fitness #4
"Riis warm-up has some accent patterns that will help учти г double-strake roll They all include two
successive accented notes. This will get your doubles in shape and allow you to hear different possibili-
ties for varying the roll Start at J  70 and gradually increase the tempo.
R R L L «fc.
R R L I rtc.
R Й L I ntc.
Set Warm-Ups #1-#6
Set Rtness #4
This warm-up puts some of the ooudIb accents on the drum set. Play quarter notes on the bass drum and
add "Ле hi-hat on beats 2 and 4 Strve (or clear contrast between accented and non-acoenled notes.
,	,	, SECTION FOUR—The РгрАсгелсу Workout i?
https://drumnet.ru/drum sheet 459l8.(i52(bXiwuwi45(^
DAY FIVE
Hand Warm-Ups #1-#6
Hand Fitness #5
Here- is an exorcise to get /our flams in shape. A flam is played by slipping a quick stroke in just before
Tti& main Stroke. For example, to Ham a right-hand stroke, play a quick left-hand Stroke directly before
it. These quick notes are written as small grace notes. For this warm-up! play a flam roll with a left/nght
Sticking for at least one minute before moving up the tempo. Remember to kfrep the gr«<-note stick
«$ dose to the drum as possible to get a good flam sound. 5iart slowly drtd grsdu&Hy get the tempo up
as fast &S ybu can.
J**5 LR RL LR ttL IR RL IR Rl 111 RL LU HL LR *L LR RL
Set Warm-Ups #1-#6 JR
Set Fitness #5 -Wf*
Go back to ihg double accent exercise (Hand Fitness #4 on page 19) and double the accented notes
with the bass drum.The first two examples are written out here Play quarter rtotes on the hi-hat
DAY SIX
Hand Warm-Ups #1-#6
Hand Fitness #6
This workout starts with a single-stroke roll for four oars, followed by в double-stroke roll for four bars
and finally the flam roll for four bars. Start this ат the indicated tempo and continue for at Least one
m mute before trying to go faster.
J-&0
R R
Play 4 rimes
Play 4 times
Play 4 times
Here £ an exercise to get that bass drum foot mo/ng! Play a continuous single-stroke roll on the snare
drum и you play these variationfi on the bass drum. Пау each example tw ee and move on to lhe next
wilhoul Hopping iStop >f your leg begins to cramp.) Iry using both heel-цр and he^l-down bfliS-drum
techniques. This becomes a real challenge when you ptay at a rapid tempo.
Set Wanrt-
Set Fitness
ft I R I wc.
R L R L etc.
20	SECTION FOUR—The Proficrency, Worfcout.	™ v ,л « г/
https://arumnet.ru/arunn sheet 45S18.(i52(bXiW0W45fr
jmI bLvLN
u
?1
Hand Warm-Ups
Hand Fitness #7
This workoutsH give you better facility with the pa'ad’-fiak.- A pa^adiddle is nothing more than a
co mb’ nation orpngle and double strokes This first exercwA» four different paras iddle stickings.
Start at the ird ratte tempo and increase it gradually. Listen foRtyeoness of the hands and make the
transitions from one stick n g to another smooth and relaxed

Set Warm-Ups #1-#6
Set Fitness #7
£
www.drumnet.ru
sheets & playalongs
Let's take the accents you worked on for the parad’ddle and use them around the set All accents will be
played with the crash cymbals and the bass drum Right-hand accents are played on the right crash,
SECTION FOUR—The Proficiency Workout 21
https://drumnet.ru/drum sheet 459l8.(i52(bX1W(1W45fr
DAY EIGHT
Hand Warm-Ups #1-#6
Hand Fitness #8
In this workout, we will focus on accenting triplets with $ ingles l.rck mtcII sticking. This will help you develop
the ability to pdace an accent anpdwre in the triplet, especially the ever difficult second note. Start this
wodaxrt at the indicated tempo and work it tip w a Buddy Rich tempo (very fast)!
31 111 0ЦИ №1Ш
Set Warm-Ups #T-#6
Set Fitness #8
This exercise uses those triplet tetents on the set. One way is to double all the accents with the bass
drum. The first two bars are written Out, and you can continue the exerc>se by referring to Hand Fitness
M above The difficulty will be the simultaneous accents n the bass drum and the hand an the second
note of the triplet. Counting aloud will help you stay in time
Another way to use These accents is tn put them on the toms. AH right-handed accents are on the floor
tom, all left-handed accents are on the small tom Play quarter notes with the bass drum and add the
hi-hat on beats 2 and *1 The last two bars arc written out hepe, but you can refer to Hand Fitness
above to do the whole exercise.
22	SECTION FOUR—Tbe Proficiency Workout
https://drumnet.ru/drum sheet 459l8.(i5KbXiW0W45fr
DAV MNE
Hand Warm-Ups #1-#6
Hand Fitness #9
It DIV IHUV IOHIDII
ййяявя
This <& a conrinualwn of Hand Fitness fffl. The idea is to errfcelHsh the accent by using a flam, a dodble
stroke or a cuzi (a multiple-stroke roll—more than two bounces on a stroke, not controlled as in a double
stroke). First, let's play all of the accents using a flam. НегеЪ what the first two bare ook like with flams
__ L R L RRL R Lett
"7?	J	5*	3	>- J	r- J
Now play the accented notes in Hand Fitness #&as sixteenth-note double strokes Accent both notes of
each double. Here are the th rd and fourth bars wntten out:
Set Warm-Ups #1-#6 . Л
Set Fitness #9
Th*s *Mrcise h-к some hand and fool combinations in triplets. The dea is to play these with a good
Flow between the snare dr\d IMSS drum. Don't accent the snare stroke. Play quarter notes on the hi-hal
SECTION FOUff—Tbe Proffcfertty Wofkotrr 23
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY TEN
.-ftj
Hand Warm-Ups #1-#6
Hand Fitness #10
Todays rtoriiCiL.T will help you adhtevt better control with the sl^-rtrekt гей. We'll bt^m by (boning an fwc
Hiddngs fix iriplett: R| . And 4RL If you ?rr leH>bonded, just r^vsrs» all [he instructions
Belew » four Stickings for the sivsv&ke roll. Begin these enercises by playing each One a few tirr*BS
without accents, to matte* the transitions. ТЬвп add the accents and emphasize tharn strongly. Notice
thfft the Stickings and the shifting of the pairs Of accented notes will enable you ta hear and control (he
Si>-St*oke roll with several different beginnings and endings. This will give you more options in perfor-
ГТИПС#
Set Warm-Ups #1-#6 ij9-
Set Fitness #10 да
This exercise applies the six-stroke roll to rhe set by replacing the pairs of accented strokes with the bass
drum. As you are practicing th s, be sure that the bass drum notes sound evenly When you play this
faster, tty using the neel-up and footboard-slide techniques with the bass drum (see page 9).
24
SECTION FOUR—The Proficiency Workout
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY ELEVEN
’'IIVOIIJUWHUJJ
Hand Warm-Ups #1-#6
Hand Fitness #7 7
A great way tc rrapve your six-stroke roll is to play a few batMphe roll as eighth-note triplets and a
few bars as sixteentn^pote triplets (three sixteenths per eighth 5*x notes per beat! Think of it as
double-timing the figuf^smg the exact same stickings and accentJ^efs use the first six stroke roll
exercise from Hand FitnessJtlO (page 24| As you get more control ovefjhe sixteenth note triplets, go
ahead and inc’-ease the numlipj of bars you play using them	* 'ф
Ш II II JIЛ
l’?l Я If n !l

Я L R R L L R L R U L R L M L L R L * $ L L
Set Warm-Ups #1-#6
Set Fitness #7 7
Let's take Set Fitna^410 and embellish the phrase by adding dot^e-stroke sixteenth-note tnplets to the
st part of the exercise is shown below. Try pfey ng the figure as it is written in Set
and then play it with the double-stroke sixteenth-note triplets for two bars
4-90
www.drumnet.ru
DAY TWELVE
sheets & playalongs
X	a
Hand Warm-Ups #1-#6	Set Warm-Ups #1-#6
Hand Fitness #12%	Set Fitness #12 V’T'
Today is a rev ew day. Take time today to review all of the material you have worked on so far Work on
the exercises with different dynamics and try increasing the tempo*. The wockouts that follow will be
getting more difficult, so take the extra time to work on the basic techn-ques. Always keep a notebook
oat muv шит
ВЯЯЯГТИ
П7И£ЛЙ
DDQDQtSIO
a 3i
handy so that you can write down any iceas or variations that you corns up with as you practice.
SECTION FOUR—The Proficiency Workout	25
https://drumnet.ru/drum sheet 45Sl8.(i52(bXiW(iW45(i:
DAY THIRTEEN
:i OJf d-uv ttmii i
Hand Warm-Ups #1-#6
Hand Fitness #73
Here's a w&rtiMU thaflfc going to gfrt your left hard щ shape! 1 he idea is to emphasize the weaker hand
by рлодч» httly adding more strokes farrt Co play every four bars. Try starting this, workout at a m odium-
15 II IT И II ZB 11
fJ ?3 H ?S ?E !? ?l
Uow tempo and Concentrate or the rno'jon of the left wrist When you ge". this going faster, try playing
thefirji stroke tffthfl left hand as a wrist nation and the following strokes with the lingers. Don't tighten
ud in ач Attempt tu play longar nr Faster. You want the left hand te he loose and flexible. with a mini-
mum of tension. Start it the indicated tempo and ncrease your speed and stamina.
flLlRLLRllRLL rlllrlllrlll
RLIULRLLLLRL	LLLftLLLLfiLLL
04 HLLLLLRLLLLL

II It
Set Warm-Ups #T-#6
Set Fitness #73
Here are some exercises to work on for getting around the full set. 5ixieernh-nr>tfr Triplets й re grouptd
with two si ngle strokes on each dru m. Play quarter r otes on the bass drum, adding the hlf-hflt on bfcttt
2 and 4. Uss tingle-stroke roll sticking.
2й	SECTION FOUR—The РгпЛсюпсу Worikout
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
FOURTEEN
Hand Warm-Ups #1-#6
Hand Fitness #14
Today's worknul will give you a routine to practice lhe dratg or three Jf rote ruff This is a very importer!
rudiment that can be used n many different siluaiions. The chiUvngt is to play the two grace notes
Evenly with are hand just before placing the main note with (fat opposite hand. The workout Start! with
e simple idea and gets p^ogrEssively more complicated- if yom haven't practiced (his rudiment in a
while. spend some time warming up on it before attempting these exercises. Pl*y each line Si l&Mt four
times before moving to the next.
J'fib llr	r ru	 LLB	BRL	ItR	BRI
J i ni {-— ,11. nJ nJ nJ
llr rrl Lift ft al llr rrl
LlR frfiL LLR RftL lLR RRL LlR ftfiL
LLR I LLff L LLR I UR L	R RRL R RRL R RRL R RRL
R L LLR L R RRL R I LLR L R fl PL	4 LR RRL LLR RRL L L A PAL MC
Set Warm-Ups #l-#6 ®
Set Htness #14
Todays set workout will be a continuation of Set Fitness *13 on page 26 "These are some more varia-
tions- of sixteenth-rxrtE triplets around the set. Again, well use a single-atroke roll. Many of these
exercises are based on a "melody line' of right-hand eighth-note triplets that и ^lled m with th? Icfa
hand Check out the “theme” (th e first baH and (he firat variation (the second bar) NobM that rhe right
hand outlines the pattern while the left "fills it in." In #3, the three "melody nores“ (1st torn, 2nd tom
а-nd floor torn! moved to different parts of the beat and the snare fills in.
SECTION FOUR—Th & Proficiency Workout 27
https://drunnnet.ru/drum sheet 459l8.(i52(bWXiW45fr
DAY FIFTEEN
Hand Warm-Ups #1^#6
Hand Fitness #15	-****^
Th*s workout vw II help you develop better «ntryl of your Harns. Whan playing the grace note, be sure
you are as close to the head as pebble Use your ear to determine if you are getting a good flan".
sound. Make sure the accented strokes stand Out.
J - 72
L ft (. » tk
#1
I R R L L R R L L R R L etc.
J	J
L R L LR Late	ft ft L R R L ate
Set Warm-Ups #1-#6
Set Fitness #15
This workout will gfv* you better control between the hands and oass drum Vdu-r gosl it to get a
flmooih flow happening between the limbs. Play quarter notes with your hi-hat throuyhuuf. Maktt $urt
:he doubles in т+ie bass drum sound even.
2B SECTION FOUR—The Proficiency Workout
https://drumnet.ru/drum sheet 45St8.(is2(bXiW0W45fr
DAY SIXTEEN
Hand Warm-Ups #1-#6
Hand Fitness #16
Tode/s workout will help you develop the buzz or press raJf. This roll я quite different from the double-
stroke roll in that pressure is added to the grip to make the stick "buzz " If there is rno much р#ени<Фи
however, the stirik won't rebound enough times to create a good “roll' souftd. The first
ifi rJCrng io hglpyou get as many resounds as poss ble in each hand. Stert the rtrelcewlth a wrist morion
jnd let the flick rebound against the head. Flay each example at least four times.
Here aro a few buzz combinations lo practice!
Ser Warm-Ups #1-#6  £-	*“
Set Fitness #16
Today's workout s a continuation of Day F Fteen's hand and foot midset. Wfr'II play tcm& tjf thxs basic
fig urns from yesterday but today well double all the $jj<1eenth notM with the Ьак drum, resulting m two
thirty-second notes. Try playing lhese СПГС445 with heel up techmc^ie on rhe ba&s cKim pedal
 Thirty»Wfld notes
SECTION FOUft—The Proffefertcy Workout 29
https://drunnnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY SEVENTEEN
Hand Warm-Ups #1-#6
Hand Fitness #T7
This WfliiwutisacDnbnuauonof D«y Slrtwnh bus oil stud/ The idea A Co play two bars of a double-stroke
roll followed by two IwreU a bUQ roll Wifi art dghfr-rtoW puhft. Play another two bars of doubles fa hwec
by tao bars of л bus t&ll with a tintoertifri-rttjti pulse The buzz roll will begin to sound better at a Jaster
tempo; but pr«c6ce It slowly erf frtt to help develop your ability to control the different pressures. As you gain
ccntrol. increase the repent куч to four or flight bars
JI ifri JHIH WlHIJl
feWTE
zmw
jyyyit 19 ?l
?! 21 !tj?s|n
II
]Q
Set Warm-Ups #7-#6
Set Fitness #17
LeCk Cake one of yesterday's exercises and orchestrate (designate a pan of the set for each stroke) it around
(he full drum set. Wb'H take the fourth exercise from Set Fitness *16 and play it a few different ways. The
Stickings are only a guide to get you started and should be swpanded upon after you feet comfrjfwMe.
Hand Warm-Ups #7-#6
Hand Fitness #Тв
НагаЪ a workout that features two sticking ideas. The first is tvm bars of a alngle-Mroke roll wih fi rlghi-h&nd
lead that changes to a left-hand lead with the Insertion of a paradidde on Ьеат 4 ol the second bflf The
ucond «ticking is two bars of double strokes th at changes lead hands with rhe insertion of ang e strokes
on che l*st t«o ibewenth nows of the seconc bar.
(1-1 R
(ML
<2L&0
DAY EIGHTEEN
3i пм gtuiwrijatrur ।
Set Warm-Ups #7-#6 Л
Set Fitness #18
B₽kjw are a Few more ejcercisefi that have doitle strokes on the bass drum. Listen for evenness.
30	SECTION FOUfl—The РгоЛоелсу Workout
https://drunnnet.ru/drum sheet 459l8.(i52(bXiW(iW45fr
DAY NINETEEN
Hand Warm-Ups #l-#6
Hand Fitness #79
Todays workout is a continuation of Hand Fitness #18 We'll take the first sticking and wexk in serr.e
accent ideas. This will be challenging because the lead hand changes after two bars and so does the
hand playing the accent. This opens up many possibilinos lor the efrum set and increases your level of
coordination and ambidexterity (playing with both hands)
(Id *
₽k| i.
J-75
fi *tC
Set Warm-Ups #1-#6
Set Fitness #79
$
lels take the кс&Ш and Slicking patterns yeti worked on in todays Hand Fitness exercise and apply
them to the drum set We'll play all accented strokes on the toms and all unaccented strokes on rhe
snare. Play right-handed accents on the floor tom; play left-hand accents on the small tom. Play quarter
notes on the b&55 drum and add The hi-hat on bears 2 and 4. The example below shows the first accent
pattern Go ahead and play tha- rttt of them this way too.
fl L И l ш	_	_	_R L R R
',‘i ^pn pin ,pn	^ттз ps
SECTION FOLV?—The Pkoflcjency Workout	31
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY TWENTY
Hand Warm-Ups #T-#6
Hand Fitness #20
This- is a continuation of Hand Fitness #19 Lei’s take thfl basic idea and make it a little more interesting
by playing some mare challenging мсепт patterns. This is a very useful exercise that wil help develop
your ability to lead with either hand Spend some time writing out your own accent patlems, as wtl..
This will develop your own creativity. Also, try varying the dynamic level from very soft to very kxid.
R
L tK.
ft «Db
11XJ R
|2и! I
Set Warm-Ups #1-#6 L,rd^
Set Fitness #20
I lere's another way to use the sticking and accent p^ttar n from Sei Fitness *19. Play all right-handed
accents on the right crash cymbal wrth the bftSS drum, all left-handed accents with The left crash and
bass drum and all unaccented strokes on the inirt drum Add the h hat on beats 2 and 4. The first
accent pattern is shown below. Go ahead end play (he rest of them {from Hand Fitness #19, page Si] this
way, too.
32 SECT/ON FOUR—The Proficiency Workout
https://drumnet.ru/drum sheet 45St8.(i52(bXiW0W45Q:
DAY TWENTY-ONE
Hand Warm-Ups #1-#6
Hand Fitness if21
Here arc some accents added TO the double "Stroke roll sticking Irarn Cay Eighteen Make иге the
accented aoc unaccented strokes haw lots of dynamic contrast
H<i	ft	R	L	L	ere.
[2*1	I	L	FT	R	Me.
Set Warm-Ups
Set Fitness #27
$
Hene^ an adaptation of today's Hand Fitness exercise for the drum set. This is only one possibility of
many! Work up some of your own ideas using the same sticking and accent pattern.
DAY TWENTY-TWO
Hand Warm-Ups #l-#6
Hand Fitness #22
Today's workout will focus on the four-stroke raff. Thia is a very important and much used mdiment for
drummers of all styles. In a four-stroke rurff, three rapid notes, with single-strake stkiting, are inserted
before the final, main, note. Here are a few stickings tnat will help develop your ability to lead with
either hand:
Set Warm-Ups #7-#6 Л
Set Fitness #22
Here зге e lew eumpta of the fajr-ttrokt ruff used around the drum set.
SECTION FOUR—The Proficiency Wprirodt 33
https://drunnnet.ru/drum sheet 459l8.(i52(bXiX>iHiOX>i45(^
DAY TWENTY-THREE
Hand Warm-Ups #1-#6
Hand Fitness #23
Here are tame triplet variations ax ths four-stroke ruff. They are wnttef with a nghL-hand lead but
should also he practiced with л left-hand lead. Play each example four times.
Play 4 times	Play 4 lim*i
Set Warm-Ups #1-#6
Set Htness #23
Here are some orchestrations of the four stroke ruff including the toms. This makes for an interesting
phrase that can be used in fills or Solos. Once again, use a right- or left-handed lead.
34	SECTION FOUR—The Proficiency Workout
https://drumnet.ru/drum sheet 45SI8.(i52(bIi^iW^i45(t
DAK TWENTY-FOUR
Hand Warm-Ups #1-#6
Hand Fitness #24
Todays workout will help you develop control at drfferont dyrnmir |«v«lt with single-stroke noli 16dung
This Exercise starts softly (f?), does a crescendo (gets gradual^ louder) to moderately loud ( in bar 2
and then loud -n bar 3 (_/У Then H does a decrescerdo (gets gradually softer) to th? end Try !<? meko
the changes in volume as smooth and gradual as possible Watch your stick height for evenness Don't
get to Full volume too Fasti
x UTiRhimujji
p--------	— < ------------
Below 4 th*cxrrtiSer in jiKtSWth-notO triplet* with tingle-stroke sticking Try this with a left-hand
lud к well.
Set Warm-Ups #1-#6
Set Fitness #24 'A?J
Tcda/s workout will give you better control with a single-strake юН between the hands end feet. Tnerg art four basic exHC4M in this
workout that should be practiced separately and then combined to make one longer workout This will giv* you the ability to Itfrd
with either hand or foot m a single-stroke rail between the snare and bass drum. This is a difficult exercise and should be worked on
fora few days to build your stamina and dexterity. Play each exerose eight rimes. When you feel like you can do more, by all mean*
add more bars to your workout. Don't continue i" your leg cramps or becomes over-laligued
L L L L art.	L L L l eie	_______________
SECT70N FOUR—The Proficiency Workout 35
https://drunnnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY TWENTY-FIVE
Hand Warm-Ups #1-#6 *—^^2
Hand Fitness #25
Here's another gjcercise for dynamic control. This ib a single-stroke roll That begins loudly; makes a
cfee^scendo two bars to soft and then a croscendci back to loud. Don't tighten up as you play louder.
. RLRLRLRL vic.
J-80

p-------	—--------— - - _ ----------------------------------
Set Warm-Ups #!-#6 , Л
Set Fitness #25
Let's takt the single-strokesnare-and-bass-drum roll from Set Fi|ne« #24 and move the hand around the
set Start with the rir^rthand by itself чпо then go to the left hand by iiseH. Hero are two variations, txjfgo
ahead and imprcvise your own according to your own set 141.
DAY TWEWTY-SJX
Hand Warm-Ups #1-#6
Hand Fitness #26
Today's workour will focus on qu.'ntup'ets [five notes played in the time of four) They should he played
with single-strake-roll sticking. Listen for accuracy. Observe all accents. Play each line four times
₽ L R L R L ft L R L etc.
Play 4 times
лта ига ।
Pley 4 tinges
Set Warm-Ups #1-#6
Set Fitness #26	j*?*
let's add to the Set Fitness w+'v* been working on for the past fvwdays with a flam to the single-stroke
roll. Play each bar a minimum of eight times.
Lff Lit LR LR
,e90 RL Й1 RL RL	4rtc.
1 4]>Цг1 j Ij
36 SECTON FOUR—The Proficiency Workout
https://drumnet.ru/drum sheet 45St8.G5g(bXi2Qnni'0X)'i45Ci:
DAY" TWENTY-SEVEN
Hand Warm-Ups #T-#6
Hand Fitness #27
Let*; add some eocents to the quintuplets from Hand Fitnew #76 The« will be challenging, ao take
your rimt and wort on playing ассигате1у ат slow tempos. тМ> h an crftm-ortfic>cA*d subdMilan of time
that is useful. If you hav* diffcwlty with ihe accent!, try counting the frves as follows- 1-?-3-4-5.
2-2-3-4-S,, 3-2-3-4-£^ 4-2-3-4-5- Eventual^ you will hear 1he г+iythm aod not hart to Count as much, Use
tingle-ahoke-rolt sticking throughout. Play each example four times.
frLRLPLRLRLftLRLPILHLRL. ait.
Court I234 5??3452?3454?345 de.
T-	.7-	--	>-	>-_	>-	>-	;--	.--	>	>- _
J J *	J J
Ч1
I Set Warm-Ups #1-#6
Set Fitness #27
Todays warfaiut will help you play a single-strata roll between the hands and feet with different subd -
visions of time. It starts with eighth net as, then moves to triplets, sixteenth nates and quintuplets. Flay
each bar eight times and then move on to the nexl. Play quartet notes on the hi-h-at throughout. Jse an
alternating right-left sticking with the hands.
SECTION FOUR—The Pnofic/ency Workout 37
https://drumnet.ru/drum sheet 459l8.(i52(bXia)iXiO^i45(^
DAY TWENTY-EIGHT
Hand Warm-Ups #1-#6
Hand Fitness #28
Today* workout ra a combination of single* end doubles in Three different subdivision* Th s is a great workout
For the hends. It begins with sixteenth ncrf«, then moves to quintuplets and and? with sixteenth-note triplets.
Play wch subdivision with a single-stroke roll four times and then with a double-stroke roll lour limes before
moving to the next line. Try playing at diffmem dynamic levels as you perform these exefdses.
RlKLRL KLRLRLfrLfllRLRL RRLLfiRLLRRLLPBLLffBLL
лтт-	. I: /жо лжа
R L R L R L R L ft L ft L R I R L R L R L R L ft L ft ft L I. R R L L R H L L R R L L ft R L L H R L I
о	в	a	£
Set Warm-Ups #1-#6
Set Fitness #28
$
This is эп application of Hand Fitness ^28. Play four bars of singles ard four ben of doubles between
rhe hands And feet with different subdivision*. Start with eighth-note triplets, then move to sixteenth
notes, quintuplets and sixteenth-note triplets. U*& hght/left sticking with th* hand*. Yau may want to
vary the hi-hat part. Start by playing quarter notes and then play these tH#rci$es with no hi-hat.
36
SCCn0Nh^ps?//Jrupuffyrffffisfie et 45918.Gsg(bXiX)iWfl# 145Ci-
DAY TWENTY-NINE
Hand Warm-Ups #1-#6
Hand Fitness #29
Let's extend Hand Fitness #28 by adding accents to the stickings. Play the exeroses accenting all right-
handed strokes Then go back and accent all left-handed strokes. Do this with every line of Hand
Fitness *28. The first two lines are shown here.
It Ш If.'J JHIQH
-80
All rights
accented
R L R L etc	RRLLRRLLetc
.’||.
All lefts
accented
R I R L Me.	RRLLRRLLetc
Set Warm-Ups #1-#6
Set Fitness #29
*
Today's workout applies Hand Fitness #29 to two drums Play the stickings from Hand Fitness #20 and
s£>ht them up oetween two different drums The rights will be on the floor tom, the lefts on the snare
Play all rights as accents Play quarter notes with the bass drum and add the hi-hat on beats 2 and 4
Then, play the rights on the snare and the lefts on the small tom with all left strokes accented. Doing this
w»H result in some interestmg potyrhytfrms {two or more rhythms played simultaneously), especially dur-
ing the quintuplets. The examples with quintuplets have been written Qut here.
R L R L R I R L R I R L R L R I R I R L RRllRRLLRRLLRRLLRRLL
srs и j
RLRLRLRLRLRLRLRLRLRL rrllrrli rrllrrllrrll
— ‘1^ f f f 111 r f г r —
DAY THIRTY
Hand Warm-Ups #1-#6	Set Warm-Ups #1-#6 МЛ
Hand Fitness #30	Set Fitness #30
Today is a review day for you. Go back and work on some of the more difficult material ле have covered
in the workouts. Take your time and perfect those things that are your problem areas. Remember, don't
always practice the thmgs you can already do well! Be patient. The results will come m time.
End of the Proficiency Workout
SECTION FOUR—The Proficiency Workout	39
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
Section FivetatlGl1 prQficiencvMoiit
DAY ONE
Hand Warm-Ups #1-#6
Hand Fitness #1A
Let's begin [he Extended Proficiency Workout with some uxercises designed to increase your hard
speed and teeming, Tbg idea here is to inaease 1 he length of each exercise by one beat We’l I ят#п with
a bar of J, then a bar of j, a bar of J and so on. Play each two-bar exercise eight tmes before moving to
the next. This is a great workout for both hands! As in the Proficiency Wc-ткснД. the indicated tercpos
are starting tempos. 0egm aL the tempo shown and then ncrease your speed from (here.
•-ННЩлл
ft R Mt.	L I <t-c
,»ЛЛЛ|ЛЛ5
R ft etc	L L He.
ЛЛЛЛ1ЛЛЛ-Л
₽ R etc _ _ _ _ I L «с.
ППППППП1ППППППП
R R fltc	I I eft.
ЛЛЛЛЛЛЛЛ1ЛЛЛЛЛЛЛЛ
Set Warm-Ups #7-#6 Л
Set Fitness #M
This is a workout lor the bass drum combined with [he hands. It involves hitting the bass and snare (with
either hand^ Simultaneously. This s a great workout when you really crank up the tempo! When you are
comfortable with ths First bar, begin to ptay single-stroke sixteenths with both a right- and left-hand
lead. Try mixing up the hi-hat part, sometimes play quiver notes, then try playing on just bears 2 and 4
(liO	R	R	R	R	trtr.
7<1	L	L	L	L	«t.
L Hl
R Hl
40 SECTTON HUE—The Extended Proficiency Workout
https://drumnet.ru/ drum sheet 459I8. (1^X1 WO W45fr
DAY TWO
Hand Warm-Ups #7-#6
Hand Fitness #2A
Today's workout is a series of exercises for accenting with one hand The hands will be worked separately
and then brought together. Play each bar four times before moving on to the next Make sure there is
plenty of contrast between your accented and ^on-accented notes. All accented notes should be ar the
same dynamic level. and the same s true for all unaccented strokes. Be conscious of your st>ck height
• ]M ir.uMA'Hinil
etc.
etc
№ *
12x1 L
J- 180
Play 4 times
Play 4 times
Play 4 ti mes	Play 4 times
Set Warm-Ups #1-#6 ..f.
Set Fitness #2A
This workout involves playing three rapid sixteenths on the bass drum This can be quite challenging,
especially at faster tempos It may feel awkward at first, so take your time Play the three sixteenths as
evenly as possible and soon you'll have an unbelievable foot!
RLRLRLRL
www.drumnet.ru
sheets & playalongs
SEC7TON FIVE—The Extended Proficiency Workout 41
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY THREE
Hand Warm-Ups #1-#6
Hand Fitness #3A
The lollowng exerase uses, the accent torhbinaiions from Hand Fitness #2A. Pljy rhe whole exercise with
0гч hand, then play it with the <i(hcr h?nd O? this for a few days and your	Kind is go ng to feel great!
1 ’4 Hl IHlV Nil					Hl	
	2			5	I	?
i IS	1	II	11	12	1]	И
	ie	IJ	11	II	?]	21
22	n	21	!S	21	21	21
21						
[MRftRRRRRH ясс.
(2x) L L L LILLI etc
Set Warm-Ups #7-#6 1?Л
Set Fitness #3A
Todays wqrltQut is a combination e^t-гсч» f<r tha bass drum, We'll mix it up by playing on*, two and
three sixteenrhs Oh the bass drum, filling in with the snare.
RL	R L R	L	RL Ft	L R L	R L R
42 SECTON ЯМЕ—The Extended РгоЛсгегку Workout
https://drumnet.ru/drum sheet 459I8.Qs2(bXiW0W45fr
DAY FOUR
Hand Warm-Ups /И-#6
Hand Fitness #4A
Thk и a woAjOUt for accenting sixteenth-note triplets with a single-stroke roll. After completing this
*HfirtiSe with э right-hand lead, go back and do >t again with a left-handed lead. Also, try playing this on
the snare drum wh la playing quarter notes on the Ьэзб drum and adding the hi-hat on beats 2 and 4.
I >	*	й >	>	s- *»

Set Warm-Ups
Set Fitness #4A
Hu's ц a great wercse for increasing your hand to foot speed. Begin wrth a single stroke roll between
the snare and bass drum in sixteenth notes, then play the мте figure as rixteenth-note triplets Play
another measure of sixteenths and then t«o measures ol ilxieenth-hote triplets. Ктер adding mcre
ban □( sixteenth-note triplets « you build endurance
DAY FIVE	—И	1 Hl It			w	Г|	1
Hand Warm-Ups tf7-#6	E	3	II	1 1!	11	14
Hand Fitness #5A	«-***’^	IS	ll	П	 11	?l	21
This workout has a few more sixteenth-note tripet accents in addition Ю those from Hand Freest iUA.	ЧЧ				91	IQ
Play this with both a right- and left-hand lead.	П	£1	il	21 i!l	£.1	2d
	:i	]l				
=» L	*-	>	5*.	6
777 /77 J/7 J~J~J J	7i J	J 777
Set Warm-Ups #7-#6
Set Fitness #5A
This is a workout For playing fast double strokes with the Ьчй$ drum. Try uting the ‘Ъвв! up * method
SECTION FIVE—The Extended Proficiency Workout 43
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY SIX
Hand Warm-Ups #1-#6
Hand Fitness #6A
Todayi workout will help you play the double-stroke roll n thirty-second notes. We wiII progressively add
more- thirty-second note double-smokes tufha exer-ose until we're playing them for one whole measure-
Mjke eu4 your doubles are even and solid. Don't rely on dribbling ihe second stroke! Start with a wrist
Stroke and work it up to speed before you "go to a bounce/
I BflT [HIM IFRilll
RRLLRLRLRLetc	R L L R R L L R L R L etc
aw-д-т i жжт лтз гтя-
H Й L L ft R L L ft R L L R L R L R L etc	R R L L R fl I I He.	R L ft I
R R L L R ft L L etc.
RRLIR L R L R L RRlLftRLL •«,
R L R L
ft R L L R R L L *i£
R R L L R L R R L L «it.
Set И/arm-Ups #7-#6
Set Fitness #6A
f
Today's workout is a senes of coordination exercises for all four limbs. They involve playing the hi-hat.
bass drum, snare and nde cymbal with no two limbs playing ат the same time. This i$ a gr&at marital, as
well as phyis-ic-al, challenge. AH ride cymbal notes are played with the right hand and aN snare drum
notes sre played wth tie eft Hana. Play these ideas with a nice even flow between the limbs. &e
patient; this isn't going to be easy at first!
R L	R L	L R	L fl
R L Я L R L R L
44
SECTION FIVE—The Extended Proficiency Workout
https://drumnet.ru/ drum sheet 459l8.(i5KbXiW(iW45ft
JAY SEVEN
Hand Warm-Ups #1-#6
Hand Fftness #7A
Today's workout will ha p you develop endurance with both hands. Well start off by playing flat flams
{Simultaneous strokes on the same drurn) for several minutes at a medium-slow tempo J - BB). Make
sure your hands hit at exactly the same time, unlike rudimentaf flams. This workout will be notated on a
I single line instead of the traditional five-line staff in order to show the relationship of the hands to eacn
other. The right hand is the top nota, the left hand is the bottom note.
П DJf D'UM SiHiui I
J  яр	J	J	J	J
Once this feels comfortable,. try playing some accents with the hands. Accents above the music a re for
iht right hand, ard accents below the music are for the left hand. If the tempo is too fast for your
weaker hand, slow it down for better control. The key to developing endurance and stamina is practic-
ing for long periods of time with relaxed muscles
"< f J J J J j J j jJ :|||: J J j Г"Л j j J j J j fl|
3^	3^	3—	2—
; .11= ГЛ ГЛ ГЛ ГЛ .||,JT3 ГЛ ЛТ JTj
Now shift some accents from the right-hand to thu krft- Ths soundb intw^stirg cn tw different drums,
I фГЛ ГЛ ЛТ ГЛ JTj JT3 JTJ JT3 ^11
Set Warm-Ups #f-#6 Л
Set Fitness #7A A?J
This workout provides a law triplet combination® for four-way coordination. Take it slowly at first and
play these evenly
https://drunnnet.ru/ ^rum^ee^Woi*0dt
45
DAY EIGHT
Hand Warm-Ups #1-#6
Hand Fitness #8A
Let's continue today wrth more accents
between the hands They are also excc
it flams. These workouts are great -or developing evenness
for coordination.
I J,i IF. M МИГ
Here are a few examples with sixteenth notes
.= 75	r~—е-к-в-е
L II \	!ll
* II ||: I^TTl jJJjJJjj	:|||:	>7П |7П /ТД-^|
www.drumnet.ru
Set Warm-Ups *i-*6 A sheets & playalongs
Set Fitness #8A
Todays workout will explore e few possibilities for paradiddle sticking around the set There are some
unusual variations here, so take your time ano learn the orchestrations first Then, play them faster.
DAY NINE
1 l |M Пй!|И frOMBUl
Hand Warm-Ups #7-#6
Hand Fitness #9A
For the next three days we' I work an the rudimental flam with some variations. Todays workout will focus
on the Aam wth single-stroke-roll sticking in triplets. Experiment with the p acement qf the grace note,
from very open floose, or far irom the main note) tq uery clqse (tight, or near the main nqre).
I! 13 I1
Г
33
31
11
It 35
!1
H
И
гт
LR I RR L Ifl I R Й1 R RL R RL Lfi L LR Ш R ftL |_R L I R Rl R Rl
This wO Aout h*i doubles (double strokes, RRIL) around the wt in triplets Play quarter notes on the ba» drum addi ng the hi-hat on
biiMi 2 and 4. Thgw are very polyrhythmic. To кечр From losing your place, ba sure to count as you play.
Hand Warm-Ups #1-#6	jmimfuiifir1
Wand Htness #1OA	**и**^	pshi и In Hi ] !i l__l_	i^___
Today? wqrkoot continues with s&mt flam «до»« m sbd#*nih not**. Observe all th<? sticking ihdotiord	?г П 31 !Ь!зф?]з1
	рГю
R R
Rl I LR R Rl I IR R Rl L LR R Rl
LR R RL I LR R Rl L LR R Rl L LR
J =?0		  i 		 > iiii I
https ://d ru mnet. ru/ ctesm/sheeygLS^	workout 47
л
и о» niuv mioui
RLLLRLLLLRURIRHR
rllulrrrrllllrrr
Set Warm-Ups #1-#6	<
Set Fitness #11A
This workout is an application of flams to the drum sat. WerII take ите flam ideas and pla/ them betweefl
the sr-гге drum and crwh cymbals, with the bass drum reinforcing the accented rotes. This is a tremen-
dous workout for the ftrms I After mastering th is. you'll h jve no problem reaching up to the сгалН cymbals ’
48 SECTION FJVE—The Extended Proficiency Workout
https://drumnet.ru/drum sheet 459l8.(i5nbXW(iW45fr
DAY TWELVE
WIRIM j*[RUlUj
Hand Warm-Ups #7-#6
Hand Fitness #12A
Todays wjprloout will focus on dynamics. These exercises wilhncraase your control a nd sensitivity at differ-
ent dynamic levels. Play through each exercise until you perfect the indicated dynamics. After you have
done this, go back, and work on each exercise with as many different dynamic levels as you can think of.
Dynamic contrast will make your play ng sound more musical and interesting.
lb
ZZ
li
21
IT
zi
13
I!
»
J>|TI
К lI
21 31
Pianissimo Soft)
jJJ"- Fortissimo [Very Loucfl
Ser Warm-Ups #f-#6
Ser Fitness #12A

This is a workout for crossing the hands around the sat. We ll me single-stroke-roll sticking throughout
and "be hand that crosses will be indicated with a circle around the sticking. This is a great wwkout for
getting around the drums!
RL rl(«)l4irlrl (?) l r l r l r l (r) i r l
SECTION AVE—The Extended Proficiency Wodcout 4?
https ://drumnetru/drum sheet 459L8,G5g(bXiX)iy(iOX)i45C^
DAY THIRTEEN
Hand Warm-Ups #T-#6
Hand Fitness #13A
continue wrth more exercises for dynamic control. Observe all of the flicking and dynamic mark-
ings. On the crescendo examples, be sure tfial each stroke is 3 little louder than lhe previous one.
Make sure you don't hit your peak volume too soon I On the decrescendM. n% just, the oppasile—don't
play loo soft too soon. Make very gradual dynamic charges
Set Warm-Ups #7-#6
Set Fitness #7 ЗА
Thia workout Luntmucs with more cross-harded studies. Today, well mix up triplets and sixteenths in л
four-bar phrase. Use single-stroke-roll sticking.
JAY FOURTEEN
Hand Warm-Ups #l-#6
Hand Fitness #14A
Todays workout comprises two triplet exercises w<th paradiddle sticking These patterns create cyclical
two-bar phrases. Try play ng them with and without accents. The accents create a polyrhythm by form-
ing a haH-note triplet within the sticking. In other words, the accents evenly divide the measure into
three groups of four triplet eighth notes. Phrase marks are induded to clarrfy the polyrhythms.
R I R R I A I L R
R
R
R Я I R L
Set Warm-Ups #1-#6
Set Fitness #14A	,1^
Let^ adapt Hand Fitness #14A to the dnjm set. The first sticking from the exercise above is written out
with the bass drum playing quarter notes and the h»-hat added on beats 2 and 4 The hatf-note-triplet
phrasing is orchestrated around the toms. The second adaptation has the half-note-triplet phrasing on
the bass drum and crash cymbals. Count!
DAY FIFTEEN
Hand Warm-Ups #7-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #15A
Today is a review day for you It's time to go back and review any of the mater al that was either difficult for you or
that needs better control or speed. You may also want to cornoose your own venations ur venous exercises ’hat
appeal to you. Find ways that this material can be adapted to your particular playing situations. Thws s the real
value of studying technical material: findrig ways to use it in a musical rather than purely “diumistic'’ way. Many
drummers get so wappec up n how fast they can play that tl iey low sight of the melodic and groove jtpvcts of
play ng the drums. The technical studies are there to hut> you gain control and ir-spire new ideas thus increasing
your performance options.
Also, be aware of how you go about practicing and developing new material You must be critical of your
progress and manage your t me well. Many books and vdecs shew you w+ia? to practice, but not how- to
practice. This >s a very individual’ thing and no two people go about it the same way The keys are seH-
dsopfine, patience and desire. You must Fave long-term and short-term goals that you're constantly work*
ing towards. All progress on any instrument is generally made in small steps over long periods of time That
is why it is so important to have an organized approach, where wasted time and effort are field to a minimum,
Practice must be enjoyable or you will not spend the necessary time doing it1 Find ways to make it fun and
productive.
SECTION FIVE—The Extended Proficiency Workout 51
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY SIXTEEN
:l П? JlliV ЛПЧГ Г
Hand Warm-Ups #T#6
Hand Fitness #76A	•***^
Let's call today's workout *The Accelerator." This isa single-strake-roll exercise that дгмИ the illusion of
speeding up by playing progressive^ smaller note values. In the first е*ег<Йе. wt'fl work on playing
each note value for two btati When you Feel comfortable with that, move to the MCOrd exercise which
has the note values changing chi every beat. The third exercise is “The De-ec«l*rator,H which sta'ts
with the smaller values and moves to larger values. These exercises аге great for your single-stroke
chops!
. „ Я	L	R L R к fllRLRLRLRLRLRl.
J - 6S	J	J
R L R L R L R L R L R L R _ R L R L R I R I A L R L R I R L R L R L R L R L R L R L R L R L R L R L R I.
fi L R LRLRLRL RLRLRlRLRLRLRLRLRLRIRIRIRL
r	<	A	7
#3
RLRLRLRLRLfll RLRlRLRL RL R L R I
RkRlRLRl R L
J
Set Warm-Ups #l-#6
Set Htness #16A
$
Here's 3 workout f<x double stops on the drum set. Double Stops are basically flat flams playeo
betweeo two drums. These exercises are tremendous for your arms and wrists. Start at the indicated
tempo &nd work it up to a Tony Williams tempo!
52 SECTION FJVE—The Extended Proficiency Workout
https://drumnet.ru/drum sheet 459IB.(i52(bXiW0W45fr
DAY SEVENTEEN
Hand Warm-Ups #1-#6
Set Warm-Ups #l-#6
Hand Fitness and Set Fitness #17A
[□day will be e combination day for both the hands and feel. This workout will Focus wi playing doubla-
Ftrake-roll combinations over an oftinato [a repealed accompaniment patUrfi^ with bass drum and
ti-hat Start by playjng this rhythm with the feet
play the following noil patterns on the snare drum. Observe fl II sticking indications.
Seytn-SH&kc Roll
ine-Slroke Roll
Ten-EUc-ke Roll
I* 120
Three-Stroke Roll
Fve-Stroke Rol
Sin-Stroke Roll
R LLRRLLR LlRRlL
R R L L R R L L R L R a l L RRLLR I RRLLHRLL
RRLLRRLL
RRLLRRLLRRL RR'LL R R L L R R L RRLLRRLL
Eleven-Strake RoFI
Thirteen-Stroke Roll
gc back and play the workout with a left-hand lead. Try varying your dynamics.
httos://drumnet.rb/^»^WffiMWW W“o“
DAY EIGHTEEN
Hand Warm-Ups #T-#6
Hand Fitness #18A
Today's band fitness is called "The Rush,' It i* designed to help you* single stroke* by adding one beat
of quicke - nates at the end of the measu re This way you hawfl Co 'push'' thfl jingl ₽ itrok* f astor but only-
far one beat. After you play ft with e righr-hand lend, immediately change Ov*r to a Iflft-hiM Iflfld.
irlrlrlrl
R I R I ft L R I R
R	L	ft	L	R	L	ft	L	A
I	R	L	П	I	R	I	R	i
[14 R	L	fl	L	R	L	ft	L
L	R	L	R	L	R	L	R
R L R I R L fi L fi
LRLRLRLRL
tf
R	I	RLRLRLRLFriFLRLRLR	R	L	R	L	R	L	R	L	R	L	R	L	RLRLRLRL
IZ< L	ft	I R I ft I R L ft L fl L R I ft L R L	I	Я	L	«	L	«	L	R	L	*	L	*	I R L H L Й I R
Ai you become more proficient with this wcxkout, start to add гпсте beats of quicker notes. Here is an
example using quintuplet:
[Ik]	Я	I	ft	I	R	I	fl	L	ftLRlftLRLfrL	ft	L Й	L	RLRLftL₽LRLRLRLR
tiXi	L	R	L	R	L	A	L	R	L R L R L R L ft I R	I	RL	R	l Я L R L R I R i A I. R L R L
j	5	j	j	j
Set Warm-Ups #1-Д6
Set Fitness #18A

Thii ig a wortffiut tor IbuMwfly Singh rtrokit, The idea is to play singles slanting with er-her hand or foot.
If you wi$hH you tubfltftutfl the hi-hat for the bass drum.
|I4	R	R	R	H
1.24	L	L	L	l	Й1С.
'ШГГГГГ
:/^ru^nne^ru ^rumi ^hee^^9!8 .(i52(bX^iXi^i45(i:
DAY NINETEEN
TO 111 HUVHDtHJII
вики
Hand Warm-Ups #1-#6
Set Warm-Ups #l-#6
Hand Fitness and Set Fitness #19A
$
For the next, two days> well combine hand fitness and set fitntM snd focui ОП bass druHfl iubstifu&Mb This
5 a process in which we Lise the bass drum to replace 4 note thar was played by A hand All d1 the following
19 II
examples will be based on a single-stroke rail. Let^ start with a sixteenth rot& single зЛюкй rail and then
replace a few of the strokes with the bass drum, hut leave the shoeing intact.
ПЕТОИ
ALSLRLRLALRLRLRL	LRL₽L L L L Й L Й L
Here is a workout "eaturing this idea.
DAV TWENTY
Hand Warm-Ups #l-#6
Set Warm-Ups #7-#6
Hand Fitness and Set Fitness #20A
This is 3 workout for bass-drum substitutions in triplets. After you gain control over this material, ex-
pand thfr workout by playing the hi-hat on different beats and orchestrating the phrases arabnd rhe
drum sei Try substitute ng th* hi-Ъ a t for the bass dram. Use you г own creativity to make these exercises
musical end interesting
https://drumnet.ru/ efrum^ slie eV^AS1^.WoHeDUf
DAY TWENTY-ONE
Hand Warm-Ups #1-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #21A
Toddy ¥rt *wll begin a series of workout days that will feature OStinates for either the hands or feet. The
idftJ is to perform a repetitive rhythm with one O* two limbs whifo playing a series of exercises with the
oth^er limbs This will increase your sense of coordination, balance and time. Today's workout will be an
Oitinato study in J lime. Begm by playing this ostinaio with (he bass drum and stepped hi-hat.
, - 120
When you foel comfortable with the cstinato rhythm, play this workout with the hands whfo playing th&
«tinsto with the feet. It is a good icea to play (hit hand exercise without the ostinato as wel1
LR	L J - ’2D		К	Rl	R	L	LR	L		R	RL	R	RL	
		:	J=i	J j-		г			1	r+			
MT- LR	Rl	J	r L	1* LR	ftt		L	(bass and hi-hat continue) R	L	LR	Rl		F	S	I	L	
nrJ	Л-				1					1		
R	L	R -	!	R =-	I J	L	R	L	F  -	?	1	L	R	L	L 	>-		R	R	L	I	
	=£				;			1 J 1	44	—	
RLRLRLRLRuRLRLRLRiRI
--	_ I	=-	J
	M				4—		=4=			
R L R L R	L i	J —				R i		L	R 1			J —		L	RL	R	L 	1	->		
„ J J J j j	J					j			-4	4-		1		
T* * * * *	•—						J	 f				
R	L L R R г	--J	i			L	R F L I i	J	R-	L	R 4		L	FELL i	J	-i		R	L L R R L	R	L J		
						1—1		1 H H		1
				J J :		J—ГЗ Z*.			—+	
Try taking this workout lunher by substituting one of these ostinatos for th# one above.
56
section sJ7^njrn%Keet°fegi8.(^ИьХФЮW45fr
DAY TWENTY-TWO
HMORIOWIHIir
Hand Warm-Ups #1-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #22A
These exegeses are rxesented as an etude (a piece devoted to a particular technique). H you have diffi-
culty playing through the whole etude, study each bar separately first before playing the whole. The br$t
ostmato «$ a Sa run, a popular dance rhythm from northern Brazil. It« played between the b»s drum and
$1ерр<х1 hi-fat.
J-92

ESKESSi
я;
?) M'n|wpipi
»
www.drumnet.ru
sheets & playalongs
In the etude below, play the Baion ostmato as you play the hands on the snare drum.
(bass and h^-hat continue)
R RLRLRLRLRLRL RLRIRLRLRLRLR L L
SECTION FIVE—The Extended Proficiency Workout	57
https://drumnet.ru/drum sheet 459l8.(i5HbXiW0W45fc
II оя DllW WlRC 11!
21
21
!? 21
DAV TWENTY-THREE
Hand Warm-Ups #l-#6
Set Warm-Ups #T-#6
Hand Fitness and Set Fitness #23A
Today's workout will fwture rudimental roll exercises for the snare and b*sS drums. First, work through
the basic variation*. This will hefp you develop even rolls and improve your ability to accent with the
bass drum.

7 - The number above the
j* roll indicates the amount
* of strokes. For example,
thrs is a se^en-stroke ral.
Now try these variation* with rail patterns. EJegin at the indicated tempo and work up from there.
5*	SECTION FIVE—The Extended Proficiency Workout
https://drumnet.ru/drum sheet 45918.(is2(bli^iXi^i45(i:
DAY TWENTY-
Hand Warm-Ups #1-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #24A
This is a very challenging workout Set your metronome to J - 50 Play quarter rotes with single-stroke
sticking Make sure you lock in tightly with the d»ck. Then, play eighth notes for four bars, triplets for four
bars and sixteenth notes for four bars. This is a great workout for developing a feel for playing the spaces
between tne notes evenly at a slow tempo Ifs also great for making the transitions from one note value to
another at a slow tempo This workout is all about be mg able to play slowly 'Mien you +eel comfortable at
J “ 50, try J - 42 Eventually try л - 35 If you want to have some real fun, Vy play ng quarter-note triplets at
this tempo! This workout wil: greatly improve your rhythm.
" 14 illl A'lFIQ
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sheets & playalongs
DAY TWENTY-FIVE
i: ip bf iv «опии
Hand Warm-Ups #1-#6
Set Warm-Ups iM-#6
Hand Fitness and Set Fitness #25A
Today is another review day for you. It's time to go back and practice material you found to be cfaHicuh.
Take this time to advance the tempos of the exercises you have been practicing.

?)

21
»
This is also a good time to develop your powers of concentration, Try some “distraction practice "
When we perform in a live situation, there are generally many distractions coming from all directions
Yet when we practice, we sit in a room by ourselves—without distractions To improve your abi ity to
concentrate and the strength of your inner clock, create some artificial distraction. Play any of the
workouts with a metronome, and turn a radio on, set to any random station. Continue to stay with the
pick rather than go with the tempo of whatever is being played on the rad«© Here’s the fun part: Turn
off the metronome but continue to play that tempo and ignore what you hear on the rad*o All the
while, maintain the form of the exercise (length in bars, repeats, etc.) for a few minutes. Then, turn the
metronome back on and check yourself. This will strengthen your sense of time and you will be less
likely to lose the tempo in a live situation due to concentration problems.
SECTION FIVE—The Extended Proficiency Workout 59
https://drumnet.ru/drum sheet ДЗд&ОэИьХФЮЙЙН*
DAY TWENTY-SIX
Hand Warm-Ups #1-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #26A
Today'a workout и a study in "tuplets' over two beats. In the case of a n eighth-note qu inroplef (fiv* evenly
spaced notes in the time of two beats], start by playing sixteenth-note quintuplets (five emnly spaced
notes in the tim* of one beat, # 1) and then add accents on all of the right-hand strokes (#2) Fmjlly, omit
the left-hand strokes and you will have five notes n the lime of two beats (*3^1. On your own, try я-ighth-
note septuphte (seven evenly spaced notes in the Ипч of two beats); play sixteenth-note wpluplets
(seven notes per beat) accanting the right-hard stroke then remove the left-hand strokes, end you have
seven notes in the time o-f two bears. Remember, you can think of the tuplets as being polyrhythms. For
e*3niple, the quarter-rote quintuplet can be thought of as 5:2 [five against twof.
Ohm you feel comfortable with l№ concept master the exercise below with single-stroke sticking. Play
qua rter г i?tes on the bass dru m with the hi-hat Added on beats 2 a nd 4. Prac! ice th$ with a metronome!
If you have a metronome that you can Ht TO Accent certain beats, accent the first bflat of a J bar so you
htfrt a nice rem-noer of where beat 1 Is. h 1$ helpful not only to court the beat (quarter-note pulse] but
the subdivisions as well. Remember: these ач groups, of notes evenfy spaced over two bea ts Counting
wil I h alp you achieve that сопест spacing. B* patient It may take some time for thfeo exercises to fee-
comfortable. They are very usable but you must и able to hear them cl early in your "mmd's ear’ before
they are of any use to you musically Try record ing yourself to hear if you a te perfwmi ng these correctly
2:2 jg J --------- J	I J ' J —
I	J--------------1	r---------------J	- 'I
KrJ J J -rj- J Й
60	SECTION FIVE—The Extended Proficiency Workout
https://drumnet.ru/drum sheet 45918.(15ИьХФИ1<ЙМ50:
DAY TWENTY-SEVEN
Hand Warm-Ups #l-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #27A
Thi* is a ujprkniit for polyrhythms m iha bme of three beats. Th will 3 challenge mostly due to the
f#ci ihst this 13 uncommon. To learn to hear and play these, it is helpful to be able to set your metro-
ГФП1К 1c:	beat 1 of a 1 bar НегеЪ an example: Flay quintuplets in J with single Stroke roll Slicking
Accent I he quintuplet m groups of three, starting with the first stroke. Remove all of the unaccented
notes and you have the polyrhythm of five n the time of three (5 aga nst 3—5:3). As fl reference for you,
this process h*S been outlined above each of the different polyrhythrnj in this workout Master each
polyrhythm before moving on to the next. Мотке that for S3, you must play accented thirty-second
notes, wh uh are twice as fast as sixteenth notes (eight notes per best) Phrase marks are added for
I darificat*on
1


m
J - 65
6i
DAY TWENTY-EIGHT
Hand Warm-Ups #1-#6
Set Warm-Ups #7-#6
Hand Fitness and Set Fitness #28A
и go oiuu англ
Today’s workout is a rudiments etude. This solo mil cover some of the more common roll patterns, like
the seven- and nine-stroke rolls. The bass drum w«ll contribute to accenting phrases. If you're not
already, try spending some time working through rudimental snare drum material when you practice.
It's great for your chops and reading ability. Observe all stickings.
R L I R RLRLR R RLRLLRRL RLLR R
R L L R RLRLRl	RLRLRLRLRLRLR R
R L R L R R
>	5
RLRLRLRL RLRLRLRLRLRLR R
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sheets & playalongs
62
SECTION FIVE—The Extended Proficiency Workout
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
DAY TWENTY-NINE
Hand Warm-Ups #1-#6
Set Warm-Ups #1-#6
Hand Fitness and Set Fitness #29A
This is и wPrkoul foF tha hands and leet in vcall and respon&s'' Dhrasing. The hands play an idea and the
ftrtrl eithe* mimic the idea or answer it with a similar phrase. This is. a good way to build up your impro-
vising slcilIls. ОопЧ stop with dis exercises presumed hare. Rather, taka the concept and create your
фан ideas That is realty the whole point.
li D<jrA(|4|-Ijl
Call	Response
DAY THIRTY
и дм in v .и nr. г
Hand Warm-Ups #7-#6
Set Warm-Ups #7-#6
Hand Fitness and Set Fitness #30A
This is a workoutfor after a gig, rehearsal or practice session. The idea is to warm down, very much like
horn players do. If you can. fit this in. you're going to see some great results. The exercise should be
played slowly and with full strokes for a period of five minutes after a performance. This wil! loosen up
the muscles in the arms, wrists and hands.
Lite] r
uu L
J-70
End of the Proficiency Workout
SECTION FIVE—The Extended Proficiency Workout
https://drumnet.ru/drum sheet 459l8.(i52(bXi^iyo^X>i45(^