Copyright & Printed 2006 by Massimo Aiello

 International Copyright Secured                           Made in Italy                           Used by Permission

DEPOSIT S.I.A.E. O.L.A.F. section  since  March – 10 – 2006 NR. 061180  to  March - 03 - 2011 

and SUCCESSIVE RENEWAL DEPOSITS since  March, 2011 on (COMPLETE METHOD with First and Second part)

and DEPOSIT to the COPYRIGHT OFFICE of WASHINGTON (U.S.A.) SINCE AUGUST, 2006 on.

METODO COMPLETO PER BATTERIA (COMPLETE DRUMS METHOD - First and Second Part)

PREVIOUS DEPOSIT S.I.A.E. O.L.A.F. SECTION since   August - 26 - 2005  to  August - 25 - 2010   NR. 0503756 (SECOND PART OF THE METHOD)

and Ex Corso Orientativo per Batteria-Parte Seconda (Ex Orientative Drums Course-Second Part)

and SUCCESSIVE RENEWAL DEPOSITS since  August, 2010 on

PREVIOUS DEPOSIT S.I.A.E. O.L.A.F. SECTION since   January - 28 - 2002  to  January - 27 - 2007   NR. 0200347 (FIRST PART OF THE METHOD) 

and Ex Corso Orientativo per Batteria (Ex Orientative Drums Course)

and SUCCESSIVE RENEWAL DEPOSITS since  January, 2007 on

PREVIOUS DEPOSIT S.I.A.E. O.L.A.F. SECTION since   March - 14 - 1997  to  March  - 13 - 2002   NR. 9700837 (FIRST PART OF THE METHOD) 

and Ex Corso Sperimentale di Orientamento allo Studio della Batteria

FIRST PART

Index  FIRST PART (COMPLETE DRUMS METHOD - First Part)

˙             Presentation……………………....……………………………………………………….…………... 1

˙             Introduction………………………......……………….……………………………………….………..4

˙             Setting…………………………………………………………………………………..……....……...13

˙             Movement concept for the sound……………………………………………………..…………….…..24

˙            Exercises for the development of the hands and wrist muscles……….…………………………...….......27

˙             Applications for the TABLES 1, 2 and 3…………………………………………………………......…35

˙             Upper limbs study: movement concept for accents execution……………………………...………..……37

˙             Accents on the eighths……………………………………………………………....…………………..46

˙             Accents on the triplets…………………………………………………………………………..…....…48

˙             Accents on the quintuplets of eights……………………………………………………………….….....50

˙             Accents on the sixteenths……………………………………………………………………………….52

˙             Accents on the sextuplets……………………………………………………………………………….54

˙             Accents on the quintuplets of sixteenths………………………………………………………….…...…56

˙             ….between onomatopoeidicy and cantability…………………………………………………….......….58

˙             Two sounds concept……………………………………………………………………………....……60

˙             Binding of two and more strokes concept………………………………………………..………….......63

˙             Acciaccaturas……………….………………………….……………………………………….……...69

˙             Acciaccaturas on the accents…………………………………………………………………..……..... 76

˙             Acciaccaturas on accents and not………………………………………………………………….…....82

˙             Rolls (binary, ternary, etc….. and related exercises)…………………………..………………..……..…89

˙             Various interpretations on the eighths..……………………………………………..………...……..…..104

˙             Various interpretations on the triplets……………………………………….………..………….…...…106

˙             Various interpretations on the quintuplets..………………………………………………………..….....108

˙             Setting on the pedals (and related exercises)..……………………..………………………….....……...111

˙             ….between coordination and independence ……………………………………………..………..……121

˙             Some indications for the study of  coordination and independence’s sections………….……………........126

˙             Exercises for the coordination and independence ...………………………………………………..……129

˙             Section A – 1…………………………………………………………………………….…..……….. 129

˙             Section B – 1………………………………………………………………...……………..……….... 134

˙             Section C – 1…………………………………………………………………….…………….……... 139

˙             Section A – 2…………………………….........................................……………………………….... 147

˙             Section B – 2………………...............................................……………………………………….…. 152

˙             Section C – 2……………………………………….......................................…………………..….... 157

˙            ....metronomely  poetic....……………..……………………………………….......…………….........….164

˙             Section A – 3…………………………................……………………………………………..………166

˙             Section A – 4………………………………………………………........................…………..………168

˙             Section B – 3…………………………………………………………..……………………………….171

˙             Section B – 4…………………………………........................……………………………………...…172

˙             Section C – 3…………………………………………………………………………….………..……175

˙             Section C – 4………………………………………………………..……………….…………………182

˙             Exercises of reading…………………………..……………………………………………………..…..187

....update coming soon in this point....

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Written between december 2001 and january 2002

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I wrote this didactic text with a spirit as student because I feel so all the time, even if the topics of this Course, which I learned and elaborated also through an introspective analysis and a constant musical and personal research, I try to transfer to many passionate persons from more than 15 years.

Every good student should try one’s best to transfer in the best way what he learns, this just like a further form of study. But it’s opportune, before making this, experiencing oneself, in studying and playing, every detail, elaboration, research, etc also for years. Not as unfortunately often happens, be about to "teach" without assimilating, in depth, the sense of learned things, propagating so not very clear or wrong information. Sometimes it also gives serious problems to who approaches himself to the study, not only didactic problems but unfortunately also problems to the philosophy with which we should live the music and its world. In this way one cherishes vain hopes or rough copies of "teacher", also at personality level. The true Teacher must not fear the "overtaking" of the student but better augur it and search it anyway and, above all, understand that this must happen with all the individuality and personality of the subject that does it, without many personal transfers by the teacher, just understand some things and then delete them soon after. Well it doesn’t happen a real overtaking but a different progress from who teaches him and also from student to student under the same teacher. Sure this is very rare because it’s difficult finding true Teacher. Basing myself on my experiences, but also on those one of many others, I can deduce that not always an excellent instrumentalist/musician can be a good teacher, indeed it’s often the contrary; it’s almost impossible that a famous musician could devoted himself in due manner to teaching with the proper responsibility, like presence, especially like generous, honest and sincere quality of this one. We always must give attention to the choice of the teacher, if we don’t want limit or, worse, trouble our expressiveness and growing musically in not very authentic way. I believe that, from the teacher of any category, one must expect an unexceptionable professionalism in the preparing, bringing oneself up to date and, most of all, devoting one’s life, whether the teacher practises this activity with and for passion, or for economical necessity. One must understand that this is an activity not only cultural but also social and the operators in this sector must always act with a conscience turn to a professional, sane and altruist ethics, more than to a commercial business, often fomented from the non-knowledge in which he lets himself go for thousand reasons, the students ....

Between the teacher and the student must be established a human relation, not only for talking about this and that or going to take a coffee, but it has to be, especially by the side of who teaches, a total devotion in the didactic aspect toward who learns, joined to other aspects as important as the sharpening of "empatic" perspicacity and the psychological aspect of the didactics, etc., very useful and necessary for developing more and more the intuition, understanding the various aspects of every subject, etc.

From here the idea of writing this book which, even if limited and limiting, I would that it was an input for an opener, more honest, more constructive and more authentic dialogue (often it’s false, individualistic and negatively selfish) among the net of all musicians and particularly, in this case, of the drummers.

If one continues to closing oneself behind the appearance, behind the quantities more than the qualities in the study; if one continues to block the road to the prepared and deserving persons, so preventing them also to develop in the sector, by the "teachers" or by those few or many (but always the same), it will not be much possibility to develop and not only as instrumentalists or musicians, but above all as people in the inside of the music and its world. So as it happens easier and in more natural way in other places of the hearth musically more evolved, at least under the profile of "cultural exchanges". In our country Italy instead, I often (nearly always) noticed a closure of these pseudo-institutions, which are run by few or many musicians more intent on "working" for themselves than exchanging what is of all of us. I don’t believe that it happens for shortage of places (or of "work" as many call it .. while it must be called "most excellent trade" …) but more for a strong lack of humility and willingness to the neighbour, as having fear of giving up maybe what treasure or what important place …. since for me, I wish also for many others, there isn’t neither the success nor the failure but the prestige, this in any trade; the "fame", if not followed by an intellectual coherence of thickness above all human, results vain and end itself. Yet, it can exist in realer way just the "prestige" of a person or at least of his action in the society (this last condition, without coherence of the person, is for me allowed only to the genius …), but if it doesn’t march side by side to an exaltation of the sense of Justice, Love and Freedom also in own trade, the true sense of this comes on a little less.

If somebody doesn’t believe at least in the fact of making over an evolution, in this case musical so about the spirit and the intellectual and human thickness etc., therefore he doesn’t understand not only the effort of many persons in the world, in any field, for carrying on both the things for the common good, but he’ll can’t even dissect the music and at this point no trade to the limit of own personal potential. He’ll always be obliged to fill the gaps toward the musicworld, at this point also of the life, with fictitious attitudes, things and situations. From here to you the judge (and no the opinions … ).

A particular note of gratitude to the Master

Because also through him I refound many of those lines of research and life to go (and go over again) with authenticity; he knew how gather my essence of person and make it living some more in balance with the Music. I believe that the great worth of a Teacher and his person, as Enrico was, recognized itself fundamentally from this; even if too many people find it difficult to accept.

Massimo Aiello 

January 2002

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 INTRODUCTION  (COMPLETE DRUMS METHOD - First Part)

On my opinion, a good student of drum must acquire at least 3 characteristic:

Þ      The chapter "Introduction" goes on with the explanation more detailed of "time" "sound" and "accuracy" with few notes on the "diaphragmatic breathing"….

____________________________________________________________________________________________________

To position oneself toward an instrument means above all building oneself some means to use in the study and in the playing and make them the most possible effective. These means, of which one masters, go from the sticks handling, that is how hold them in the hands so that become the bridge between what we want say and what we’ll reproduce, to the arms, shoulders and hands settings, the posture on seat and instrument, the breathing, the setting of the foots, legs and pelvis on pedals, etc … So it will be not only interesting search and find in the best way a coordination among all these points, but it will result very relaxing and productive reach that general balance through an analytic-introspective approach, which will allow us not only to "drive" with security, but also, in a second moment, to personalize or better to interprete the settings and the postures.

I often noticed a lot of confusion, non-knowledge or worse omission by who "teaches" in transmitting, till the first rudiments, the information on the settings; as they’ll be the mean for communicating through them and the instrument is obliged put oneself, in studying them, in no superficial way if we don’t want to find us with some gaps and faults which will affect not only on the tecnique but also, unfortunately, in the expressiveness … unless a person didn’t have a particular natural gift toward all this. Maybe it happens but extremely seldom …

So if, as a rule, we must learn a setting in the more correct possible way, one must start, in my opinion, whether we want or not from comprehending well the more optimum fulcra, levers, weights, movements, etc. which allowed us to play with a good sound, control, execution, dynamics, expression, etc .., etc ..

From here I’ll try to explain the more possible in detail the knowledges on the settings.

There are various modes, for example, to handle the sticks, to have some postures with the arms, the legs, the foots, etc., but I want to propose those which are in my opinion among the richest of elements to exploit after having studied them; not only, but that, through them in particular, one can then range toward many other modes or setting methods and postures. I tried to study and develop them also a little at my way because I noticed that the very large majority of the more esteemed drummers and percussionists of all the world (that I had chance to see and analyse …) uses these types of approaches.

So: the types of sticks handling and hands and arms settings, used in very large part, are two. The first is ROCK or TIMBALISTIC or STRAIGHT, used in very wide way because maybe is the more natural position at the first approach. It’s used also in the conservatory for playing the symphonic kettledrum and the classic percussions, even if it’s exploited with a number of smaller shrewdnesses than to the drum, just because the two worlds are near and far at the same time like spirit, in the way of entering and living in the philosophy of each of these instruments.

Often, too often, one builds a wrong approach to the drum thinking, for example, that a charleston was a symphonic kettledrumhead …. that the tecnique and above all the spirit were equal for both the worlds. Maybe the interface is a little only on the tecnique of the snare; confusions, non-knowledges, didactic omissions, etc. at part … and it’s here that is much used the second setting, that CLASSIC or JAZZ which finds the differentation in the left hand (right for left-handers), in the mode of handling and in the evolutions of the movements for playing. It’s used widely by many jazz drummers but not only.

Þ     The chapter "Setting" goes on with the detailed explanation of the two tecniques of setting and their fulcra, pressures, etc …. with notes on "posture on seat", a physical exercise which I call "throw of the sound", etc ….

The most important thing that who studies and/or worse who "teaches" tends to neglect is just the sound research. Often one confuses the sound with the volume and it’s wrong. The sound must be searched and assimilated, in my opinion, before with a sounding volume between the mezzoforte (mf) and the forte (f), then as one acquires tecnique, is able to control the sound whether toward loudest volumes (ff) and more (fff, sfz, etc.), or toward low volumes (mp, p, pp, etc.). The dynamics in the music are indispensable conditions and knowing use them in the appropriate moments and ways allow us to control and interprete, as well as one can, the various moments of an execution.

Other important thing, which is nearly always neglected, is that to give a quantitative value to the volume. Of course it can depend much from the type of situation in which one finds oneself to play, for example in a rock band with amplification system and in a wide night-club or back; or in a jazz band in acoustic in a small night-club or back; or in an orchestra of 50 or more elements and with or without amplification or back; etc., etc. … But also from many things depends the volume with which one must play. It’ s of course easier to tell than to do, but it’s just for this that from some part one must start to comprehend the importance of this subject if one doesn’t want to run the risk of playing with little or much impact … So one can start to calculate the volume between the mezzoforte (mf) and the forte (f) basing oneself on own voice, giving for example the equivalent of 10 to the volume of our voice while we speak in normal mode and/or in our mode .. The same effort we make for speaking we’ll try to emulate it playing. More we speak toward the "low voice" and more we’ll play softly and maybe the effort will be major … More we speak with a "loud voice" and more we’ll play forte also till shouting (fff, sfz, etc.).

After this smallest preliminary statement, I return to the MOVEMENT CONCEPT FOR THE SOUND which is a paper of various concepts, together others which you’ll find in the Course, almost indispensable for playing in optimum way.

The fundamental exercises are two and I called them simply 1° MODE and 2° MODE.

Þ     The chapter "Movement concept for the sound" goes on with the explanation of the two exercises which comprehend also the two phases "free fall" and "speedy raising", etc ….

(COMPLETE DRUMS METHOD - First Part)

The accents, or better the strokes (the notes), with an accent put over (sometimes it’s put under for reasons of place in the writing), must be executed with a louder volume than the non-accented strokes (notes). There are fundamentally two types of accent which as a rule one executes with the percussions, each expressed graphically with a symbol. This first symbol put over a note: "    ’ " shows to execute that stroke (that note) with just a louder volume than those one non-accented. The second symbol: "   , " put over a note shows to execute that stroke (that note) not only with a louder volume but also in a "flat and clean" manner as intention, almost to result also louder than a "normal" accent ( ).

Þ      The chapter goes on with the explanation of this type of accent …

Þ     The chapter goes on with other fundamental explanations …

Þ     The chapter goes on with the basic explanations of the four types of strokes at which I gave a new name in italian and i.e.:

Þ      The chapter goes on with the explanation of this concept …

Þ      The chapter goes on with the detailed explanation of the four typologies of movement …

Þ      Then one goes on with 12 exercises tables with accents …

Þ      The chapter goes on with the conceptual explanation and some practical examples …

Þ     The chapter goes on with the explanation of the concept and some practical examples …

Þ     The chapter goes on with the explanation of the concept, passing shortly also through other important concepts (see also DIDACTIC PROGRAM on various subjects …)

Þ      The chapter goes on with their explanation …

Þ      The chapter goes on with practical examples, bases and applications…

Þ     The chapter goes on with the explanation of the development and with 6 exercises tables on the acciaccaturas.

The ROLLS study is faced after having developed quite the basic tecniques which I proposed on the TABLES 1 and 2 and particularly those for double strokes execution, which we make use to introduce us just to the knowledge of the ROLLS. I propose to you two fundamental types:

Þ      The chapter goes on with: the explanation of the two roll types, some lists of rolls and various interpretation types, exercises for the development and the reading of various roll types, a particular list, original by the author, which can give a new vision for the rolls study on ternary base and a subchapter ("Shifts of rolls") of practical exercises with unusual writing to develop…

(COMPLETE DRUMS METHOD - First Part)

Þ     The chapter goes on with further deepenings on the two previous points, passing through concepts such as the "interval of weights" and some concepts of the author on the various independence types …

(COMPLETE DRUMS METHOD - First Part)

Þ      It goes on with various technical directions to apply at the exercises of the sections on the coordination and the independence …  

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SECOND PART

Index  SECOND PART (COMPLETE DRUMS METHOD - Second Part)

Premise…..………………………………………………………………………...…..1

Presentation...………………………….………………………………….………...….2

The aim/purpose of a lesson…...………………….…………....………...……….....…..4

Introduction……………………………………………………….………………….…5

Execution’s analysis of the “Swing Cymbal”’s rhythmical design…….……………............9

Execution’s way for every single stroke………………………………..…………….....10

The “Swing Cymbal”’s cantability……………………………………..…………….....12

“New Cantability for Swing”………………………………………....……………...…18

Swing rhythmical figurations to apply on the various exercise’s groups.…………….........22

Other ways to execute, develop, etc. the exercises…………………………………......25

TRIPLETS 1…………………………………………………………...……………...27

TRIPLETS 2…………………………………………………………...……………...27

TRIPLETS 3………………………………………………………...………………...28

TRIPLETS 4…………………………………………………………….…………….29

TRIPLETS 5…………………………………………………………….…………….30

TRIPLETS 6…………………………………………………………….…………….34

TRIPLETS 7…………………………………………………………….…………….37

SIXTEENTH NOTES 1……………………………………………...……………….39

SIXTEENTH NOTES 2……………………………………………...……………….40

SIXTEENTH NOTES 3………………………………………………...…………….41

SIXTEENTH NOTES 4……………………………………………...……………….42

SIXTEENTH NOTES 5……………………………………………...……………….43

SIXTEENTH NOTES 6……………………………………………...………………46

SIXTEENTH NOTES 7……………………………………………...……………....48

EIGHTH NOTES 1…………………………………………………………………..50

EIGHTH NOTES 2…………………………………………………………………..51

EIGHTH NOTES 3…………………………………………………………………..52

EIGHTH NOTES 4…………………………………………………………………..54

EIGHTH NOTES 5…………………………………………………………………..55

EIGHTH NOTES 6…………………………………………………………………..60

EIGHTH NOTES 7…………………………………………………………………..61

QUINTUPLETS 1…………………………………………………………………...63

QUINTUPLETS 2…………………………………………………………………...65

QUINTUPLETS 3…………………………………………………………………...67

QUINTUPLETS 4…………………………………………………………………...68

QUINTUPLETS 5 – First Part………………………………………….…………....70

QUINTUPLETS 5 – Second Part……………………………………….…………...73

QUINTUPLETS 6…………………………………………………………………...78

QUINTUPLETS 7…………………………………………………………………...81

….MY CAMP 1 ?!…………………………………………………………………..82

….MY CAMP 2 ?!…………………………………………………………………..83

….MY CAMP 3 ?!…………………………………………………………………..84

WARM-UP 1………………………………………………….…………………….86

WARM-UP 2………………………………………………….…………………….87

WARM-UP 3………………………………………………….…………………….88

WARM-UP 4………………………………………………….…………………….89

Written between July and August 2005

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PREMISE (COMPLETE DRUMS METHOD - Second Part)

We can’t talk about “Independence” between limbs if we don’t talk also about “Jazz Independence”.

Fundamentally the study of Independence applied to Jazz and to its various mixing in various world’s musical cultures, like in Latin (Latin-Jazz), Afro (Afro-Jazz), Rock (Jazz-Rock), etc….generally provides that one or two limbs, playing on one or plus definite drums’ components (cymbal, snare-drum, hi-hat, etc.) and/or on a percussion  set (cowbell, conga, tambourine, bongos, etc.), execute and/or develop a definite rhythmic design (melody) while the other limbs suggesting the rhythmic counterpoint to the  melody, so underlining just rhythmical and/or armonic and/or melodic moments in a piece, adding, if and were is possible, some consistent musical filling. Because of the extensiveness of this subject it’s only right learning very well the basis, that require an in-depth study never approximative, as on the contrary teachers often tending to advise the students, penalty the usual and inevitable “limbings” and/or expressive flatness given, that’s so, by the non-control of the Independence’s rudimental basis. So it’s better understanding  immediately the difference between Coordination and Independence (see also the respective chapter in the Orientative Drum Course-First Part) that is don’t neglect (or thinking to study….) the second, wich provides a limbs control not only in the Independence between them but especially in the contemporaneous control of every limb in each its aspect or at least in much aspects as possible, that is the control of sound, colour, volume, timbre, duration of a sound, controlling the subdivision of a rhythmic melody and its most appropriate interpretation, etc., etc., etc….. So I reaffirm the fundamental importance to understand well the difference between the limbs Coordination (that provides a less complicated control, even if it’s in much aspects not less articulate than in Independence) and the Independence. In short, there’s a fine line that divides these two things and it’s important to identify it consciously by yourselves but also with your teacher, always if he also had (or wanted to) understand it…. And I really don’t believe that it don’t needs or it’s not worth to study at least the Basic Independence (not only the Basic Coordination, see the Course’s First Part), even if only on Rock, Pop, etc. and not purely the Jazz Independence that it’s generally marked on the Ride cymbal (or similar) with “Swing”’s rhythmic design. Even if I am very sure that studying well also the basis of Jazz Independence (also there, not only the Jazz Coordination wich remains in the scholasticism’s limits….) can give a remarkable technical-musical contribute also to who will never play Jazz. Dutifully given that, I will try also in this Second Part of my Orientative Drum Course to expound to you (with the more words, examples, concepts and other I can), the things that I obviously know up to now  about Jazz Independence.

Massimo Aiello

August 2005

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PRESENTATION (COMPLETE DRUMS METHOD - Second Part)

Is not my intention nor capability to take the place of those excellent Jazz Independence’s methods, but is my only wish beeing able to give a little contribute, as in the Course’s First Part, doing a bit of more clarity in drums’ didactics world were I think you can still find much confusion and/or carelessness or, worst, much omission….

Massimo Aiello

August 2005

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THE AIM/PURPOSE OF A LESSON (COMPLETE DRUMS METHOD - Second Part)

Especially the “teacher” but also the student (even if doesn’t existe neither of them, in my opinion, with certain  rare exceptions….) almost always don’t consider an aspect that I think is fundamental and I take for granted, even if it’s very subtle from the individual’s psychologic profile, and wich assume a considerable importance in personal develop of both persons; that’s the comparison between the lesson’s level/degree that who is studying is/can/have to tackle, and that it can’t doesn’t be reflected on the “teacher” at the same level or almost….that is: all are to look at the same aim but the lesson/exercise have to be well proportioned not only simply with the student’s level (and so the teacher mustn’t  turn only around that….) but it have to “look” also and especially to the self-consideration’s  level/degree that mature or not as regards the capacity to face up, that’s  so, the lesson/exercise at  his own level/degree.

More simply: the student’s psychological aspect, considered and managed on empathetic and human level as well as technical and not purely “medical” (obviously!), must to be supervised almost more of the rest. And the self-consideration, in my opinion, doesn’t spring from how much the student will can do but from the how (having, from the beginning, educated or also simply carried him to the self-discovering of this value also in music), it will always carrie both the teacher and the student also to the self-evaluation/consideration that enables, no doubt  always, an optimal evolution with themselves and so with music.

This is the principal aim/purpose of each lesson.

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INTRODUCTION (COMPLETE DRUMS METHOD - Second Part)  

Considering that before begin to study the Independence (expecially Jazz Independence), you have quite well mastered all the fundamental techniques, wich are handling, setting, the various types of movements for single strokes, double strokes etc., for the accents, etc.. And after applied them for a long time on rudiments (the fundamentals at least), on rolls, on accents’ exercises, on coordination, on acciaccaturas and so all that included in the basic technics’ development (largely described in my Orientative Course-First Part), is appropriate knowing wich all that (taken for granted that it was learned well), will be apply nearly word for word and so furtherly developed studying Independence (especially Jazz Independence, even if only the basic). Unless you decide to play, in  future, with a technically approximate way, and so (considered the limited expressive’s potentiality given by the non-control of the Independence’s base) musically the same. Of course you can amuse yourselves a little bit all the same, like most others do, but you have to know that you can’t expect to “make music”, like most others expecting to do!

So, the drums, like the other instruments, needs to be played and not hit….every single element can “sing”, producing melodies and all together, if well seered, they can integrate into music in all its aspects, both rhythmic and melodic and harmonic. This last concepts is a little more structured but achieveble, that’s so, only after a meticulous study, and anyway you must deal it (and you can do it only that way) with a precise basic control derived not only from a virtuousistic technique that often be an end in itself, like many examples unfortunately you can take from various drummers (and musicians in general) around the world….

So is advisable and fundamental to not neglect the study’s musical aspect and prefer it to that too much technical or, making myself clear, “circensian”.

So I propose to you some Jazz Independence’s basical studies and their various connections with the First Part of my Orientative Drum Course. Some steps we’ll do they will be a bit “backwards” (!?!?!)….all this for connect some concepts of the Course’s First Part, but especially for give them a new viewing part or at least a bit different, both in the concept and in the gesture and in the interpretation and application of that….

Once you have sufficiently well studied the Basic Jazz Independence you can begin to apply the concepts that you’ve reached even in the Coordination and Independence inside the Orientative Course’s First Part, chapter called “….between Coordination and Independence….”.

So:

The principal characteristic of Jazz Independence (at this point: “of Jazz”….) is the so-called

“SWING CYMBAL” (COMPLETE DRUMS METHOD - Second Part)

wich is a standard rhythmic figuration that is played generally on the Ride (or accompaniment) cymbal (you can play it also on the hi-hat, but with other implications that we’ll discuss after….).

This rhythmic figuration is fundamentally wrote like this: 

=è detailed explanation follows, also with some new lesson concepts….

EXECUTION’S ANALYSIS OF THE “SWING CYMBAL”’S RHYTHMIC DESIGN (COMPLETE DRUMS METHOD - Second Part)

=è “Swing Cymbal”’s detailed explanation follows, also with some new lesson concepts….

EXECUTION WAY FOR EVERY SINGLE STROKE (COMPLETE DRUMS METHOD - Second Part)

=è detailed explanation of each stroke follows, also with some new lesson concepts….

….CONTINUE:….At this point I counsel two things:

first:

revise in depth some fundamental and important concepts-exercises of the Course’s First Part namely:

-         THROW OFF THE SOUND

-         1st MODE

-         2nd MODE

-         EVOLUTION OF A VERTICALLY THROWN OBJECT

Obviously besides all accents’ movements and their entire chapter, especially for remember that, after all, really exist only some type of strokes and others not…

second:

I propose to you a very useful (if not indispensable) exercise for training the hand on the Ride cymbal to come back quickly

=è exercise with its detailed explanation follows, and also with some new lesson concepts….

Now we pass to the more complicated part, but no dubt the more fascinating because it concern the musical aspect (or at least one of aspects….), that’s

THE RIDE CYMBAL CANTABILITY (COMPLETE DRUMS METHOD - Second Part)

=è detailed explanation follows, with also some new lesson concepts….

“NEW CANTABILITY FOR SWING” (COMPLETE DRUMS METHOD - Second Part)  

Since I consider the triplet the more difficult rhythmic figuration to play exact in its subdivision, I would want to propose to you my idea for write it (and just to interpret its subdivision) in a different way from the standard wich is always proposed (and written, that’s so….), that’s like this:

OTHER WAYS TO EXECUTE, DEVELOP, ETC. THE EXERCISES

(COMPLETE DRUMS METHOD - Second Part)

=è about 15 various ways to execute, develop etc. the exercises follow.

Basic original exercises’ total: about 850….developable in some dozens of thusands of further exercises, 

so you have a wide range among that you can choose.

=è follow: 4 hands's and 4 limbs’s warm-up exercises, and 3 “camp” always by M. Aiello

RHYTHMS (COMPLETE DRUMS METHOD - Second Part)

I’ve inserted, like example, only these rhythms because they are between the principal and most articulated at international level, and they’re interesting for applying Indipendence to them. All other rhythms that you’ll want to play you will find them into records, concerts and/or specialized methods, if you will have studied Coordination and Independence more than sufficiently….

=è some few international basic rhythms follow, with applied Independence with well specified interpretation one of those by M. Aiello….

Have a good time….!!!

CONCLUSION (COMPLETE DRUMS METHOD - Second Part)

....update coming soon in this point....

Copyright & Printed 2006 by Massimo Aiello

Last update: February 1th 2007