the-unreel-drum-book-vinnie-colaiuta_compress

Prévia do material em texto

<p>The UnReel Drum Book Featuring the Music of Randy Waldman and the Drumming of Vinnie Colaiuta By Marc Atkinson Includes 2 CDs! The Concord Records release UnReel featuring Vinnie and cost of all-star players PLUS on instructional CD including play-along tracks RANDY WALDMAN</p><p>Contrary to popular belief, an artist is never ahead of his time, but are far behind - Edgar Varise Whether you think you can or whether you think you can't you re right! Henry Ford Sometimes a triplet just isn't enough! - Vinnie</p><p>Randy Waldman, Marc Atkinson, and Vinnie Colaiuto during the production of the UnReel project</p><p>Dedication sincerely dedicate this book to the people who struggled on a daily basis to help me make it happen: Dan Bodanis, my teacher and constant inspiration for always achieving the very best; to Ron and Hilda Atkinson for always being there for me; and to Andrea, Alexandra, and Cole for their constant support and love. -Marc Atkinson Marc Atkinson working out the rhythms</p><p>YAMAHA Marc Atkinson Randy Waldman Vinnie Colaiuta</p><p>Table of Contents and Audio Acknowledgments 9 Audio Track Foreword 11 Disc / About This Book 12 # The Contributors 13 Marc Atkinson 13 Randy Waldman 15 Vinnie Colaiuta 17 Introduction 19 Notation Key 21 Preliminary Exercises 22 1 Hand Exercises 22 Single Stroke Workout 23 2 Additional Workout Suggestions 24 Double Stroke Workout 25 Additional Workout Suggestions 27 Flam Workout 28 Rhythm Scale Exercises 30 Foot Ostinatos 31 7, 4, 6, 5 Rhythm Scale Over One Beat 32 3 Rhythm Scale Over Two Beats 34 8 Rhythm Scale Over Four Beats 36 4 Phrasing Routines 39 Rhythm Scale: Double Strokes 40 5 Rhythm Scale: Paradiddle 42 6 Rhythm Scale: Flam Accent 44 Accenting the Rhythm Scale: Sixteenth Note Rate 46 7 Accenting the Rhythm Scale: Triplet Rate 49 Rhythm Scale With Feet 52 8 Basic Groove Ostinato Moving Through the Rhythm Scale 54 9 Introduction to Solos 57 The Jetsons 58 Jetsons Solo 61 10,11 Jetsons Breakdown 62 My Favorite Things 64 Favorite Things Solo 68 12 Favorite Things Breakdown 70 Leave It to Beaver 74 27-Play-along Leave It to Beaver Solo 77 13 Leave It to Beaver Breakdown 80 Bali Hai 82 Bali Hai Intro Solo 85 14 Bali Hai Intro Solo Breakdown 88 Bali Hai Solo 90 15, 16 Bali Hai Solo Breakdown 92</p><p>Hawaii Five-O 99 Hawaii Five-O Intro Solo 104 17, 18 Hawaii Five-O Outro Solo 106 19,20 Hawaii Five-O Solo Breakdown 108 America 109 America Intro Solo 114 21,22 America Solo 118 23,24 America Solo Breakdown 120 Mannix 124 Mannix Solo 28-Play-along 127 Mannix Solo Breakdown 129 Ben Casey 130 Ben Casey Solo 134 25, 26 Ben Casey Solo Breakdown 137 Working Out Polyrhythms 139 Five Against Four 139 Five Against Three 140 Seven Against Four 140 Eleven Against Four 141 Audio CD, MIDI, Play-Along Index 142 Waldman UnReel CD Info 143 Audio CD by Randy Waldman The Jetsons 58 1 My Favorite Things 64 2 Leave It to Beaver 74 3 Bali Hai 82 4 Schindler's List (Not presented in this book) 5 Hawaii Five-O 99 6 America 109 7 Mannix 124 8 Ben Casey 130 9 Raider's March (Not presented in this book) 10 Forrest Gump (Not presented in this book) 11 Maniac (Not presented in this book) 12</p><p>Acknowledgments Thank you to the many musicians and friends who have helped make this project a reality: Ray Brych, David Hakim, Mike Finkelstein, Ed Uribe, Dom Famularo, Joe Bergamini, Andrea McColeman, Mark "Doc" Young, Russell Roby Turner, David and Marilyn Romaro, Janet Anthony, Jim Bettencourt, Mike Genovese, Greg Edgar, Gary Chaffee, Mike Mangini and his Rhythm Knowledge system, Dave Rundle and Headhunters Bruce Wittet, Steve Randall Walker, Steve Lucas, Colin Stewart, Debbie Galgani, Angela Anderson, and Lee Pepper. And, of course, the very best: Randy Waldman, John and Vinnie Colaiuta.</p><p>The UnReel Drum Book Vinnie during the recording of the UnReel CD</p><p>The UnReel Drum Book Foreword By Dan Bodanis W ith this drum book you now hold in your hands, Marc Atkinson has discovered a great way to share the hidden secrets of drumset master Vinnie Colaiuta. If any per- son deserved the title of best drummer, in almost any it would be Vinnie. From playing with Frank Zappa and Sting, to recording every track on the UnReel CD on the first take, Vinnie is the undisputed heavy-weight champion of the drumset! Marc is a very dedicated student of polyrhythms, metric modulation, phrasing over the bar line, and, of course, Vinnie's drumming. As a matter of fact, he has accurately transcribed more than 350 tracks of Vinnie's drumming. I have had the pleasure of witnessing first-hand how Marc takes these concepts, reinvents them, and then applies them musically. The great thing about Marc's accomplishments with his playing, teaching, this book, and all of his previ- ous work is his ability to communicate very complex ideas in relatively simple terms. Don't get me wrong, this book will not be easy to master. No doubt you will spend huge amounts of time working on each transcription, but that is not the end, it is just the begin- ning. I encourage you to take this book and make it your own. What I mean is this: Upon mastering each transcription, go back over the material and change it. Think through and apply different sticking patterns, tom-voicing, and foot patterns. If a fill that sounds really cool starts on the first beat of the bar and ends on the first beat of the next bar, experiment with displacing or moving the fill over by half a beat. In other words, start the fill on the "and" of beat I and end on the "and" of beat I of the next bar. Use dynamics. One of the best ways to evoke an emotional response in a listener is to exaggerate dynamics. Don't be satisfied just "playing through" this book. If you are sincerely interested in develop- ing your drumming to your highest potential, while mastering the concepts that Marc shares, push yourself to think beyond the limits of this material! It is then and only then that you will begin to truly develop your own unique voice as a drumset artist. I wish you success beyond that which you wish upon yourself! Dan Bodanis</p><p>The UnReel Drum Book About This Book T his book can be broken down into four sections. The first section is a warm-up and technique section that includes the single stroke, double stroke, and flam workouts. It is not necessary to understand this section entirely to work with the rest of the book. This section is meant primarily to emphasize and aid in developing the Moeller which is an option when playing the solos up to speed. For further study of this technique, I recommend Dom Famularo's book It's Your Move and Jim Chapin's video Speed, Power, Control, Endurance, which give detailed instruction on how to learn the Moeller technique. The second section is the Rhythm Scale Workouts with different approaches and challenges offered in learning and applying these rhythms. It is extremely important that the student have a full understanding of these scales, as well as facility playing them in some of the ways outlined, before looking at the transcriptions. If you do not understand and cannot play the Rhythm Scale Over One Beat section, highly recommend learning this before trying to play the solos at the end of the book. They will not only aid you in your quest to understand one of today's greatest drummers but will also add a dimension to your playing and understand- ing of rhythm, which is becoming more and more prominent in much of the music played today and will be in the future. After becoming well acquainted with this part of the book, the learning curve for the third section, which is the transcriptions will be dras- tically Complementing the transcriptions are the actual charts used on the UnReel session. These not only offer great insight into how Vinnie interpreted the music but can also aid in your study of chart reading. The final section of the book is the breakdowns of each solo. These are included as an aid in actually playing the solos, with stickings, and building block exercis- es to some of the more complicated rhythms. In some cases they are an extension to the rhythm scale. This section is also very and recommend that where possible you devise your own way of working out the solos with the breakdowns as a guideline. It is my hope to bring you closer to understanding advanced rhythms and phrasing concepts as they are applied by one of the greatest drummers of the twentieth century. Vinnie Colaiuta.</p><p>The UnReel Drum Book The Contributors Marc Atkinson M arc Atkinson was born and raised in Toronto, Canada, where at the age of 15 he began to study drums with Dan After two years of study, he worked around the Toronto area with the help of Dan and his high school music teacher."I was very lucky to have the help, support, and motivation of my drumset and general music teachers," says Marc. Marc then went on to Berklee College of Music in Boston, Massachusetts, on a scholarship. Upon moving to Boston, Marc studied privately with Gary Chaffee. From Boston, Marc went on to work on cruise ships out of Miami, Florida, until 1997, when he moved to Las Vegas and began freelancing. He has since toured and recorded with numerous artists including Wayne Newton, Jessica Simpson, Neal McCoy, David Foster, Backstreet Boys, Drew Carey, Ruth Pointer, and Quincy Jones. He has also appeared on "The Craig Kilborne Show," "Entertainment Tonight," "E! Network Hollywood," the Frank Sinatra Celebrity Golf Tournament, and "The Tonight Show" with Jay Leno. Marc Atkinson getting ready for concert 13</p><p>The UnReel Drum Book The great composer, arranger, and pianist Alfie working in his studio with Randy Waldman</p><p>The UnReel Drum Randy Waldman A t the age of five. Randy's future was already set in stone. While all the other children his age were out playing baseball, run- ning around, and doing what kids do at that age, Randy was sitting at the piano. At the age of Randy was hired for his first professional demonstrating pianos at a music store, and from there he was hired to play at parties and accompany singers. As a junior in high school, Randy was already a very busy musician, playing for shows, backing up singers, and playing all types of musi- cal jobs. At that point he told his parents he wanted to quit high school because it was taking up too much time and getting in the way of his career. After much bargaining, his parents made a deal with Randy, his high school principal, and the head of music at Northwestern University. If Northwestern would let Randy play in their college jazz band for the next year, Randy agreed to finish high school. After finishing high school at the age of 21, he was hired to go on tour as the pianist for Frank Sinatra. Not a bad first gig! Shortly after that, Randy was hired to tour with the which brought Randy out to the West Coast. Within one year of moving to Los Angeles, Randy was hired to tour with various artists, starting with Minnie Ripperton, then Lou Rawls, Paul Anka, O.C. Smith, and then George Benson. Randy toured with Benson for seven years as his pianist, conductor, and arranger. The word started to spread about Randy on the LA studio scene, and he was beginning to get more and more calls to do recording session work on various records and movie soundtracks. What followed were ten years of nonstop session doing records. TV, jingles, songwriting, and arranging. Some artists whose records Randy's talents can be heard on are Barbra Streisand, Celine Dion, Michael Bolton, Madonna, Whitney Houston, Vanessa Williams, Patti LaBelle, Michael and many others. Motion picture soundtracks he has performed on are Forrest Gump, Who Framed Roger Rabbit, Hoffa, Back to the Future, The Bodyguard, Father of the Bride, and Beetlejuice. Randy became a regular on all of Barbra Streisand's recordings. He co-arranged (and per- formed on) the Streisand hit song "Somewhere," which won a Grammy for best arrange- ment. His work was also nominated for Best Vocal Arrangement for a song he co-wrote for the Manhattan Transfer. Randy was voted Most Valuable Player by NARAS during this time, and he received this nomination three other times. Lately, Randy has been wearing the producer hat, working with Johnny Mathis, Bobby Caldwell, Patti LaBelle, Kenny G. the Stylistics, Mary Wilson, and others. He has done numer- ous orchestra arrangements for Whitney Houston, Gladys Knight, Nancy Wilson, Teddy Riley, the team of Jimmy Jam/Terry Lewis, and many others. In addition, Randy has recorded three of his own CDs, Wigged UnReel, which inspired this book, and, most recently, Timing Is Everything. Visit www.jazzpilot.com for more information. 15</p><p>The UnReel Drum Book Vinnie performing at NAMM 2003</p><p>The UnReel Drum Book Vinnie Colaiuta ne of the most influential drummers of all time, Vinnie Colaiuta took the world by storm in the late 1970s with his work with the late, great Frank Zappa and has never looked back. Born and raised in Brownsville, Pennsylvania, Vinnie began drum lessons at the age of 14. While enrolling in drum corps, he started to work with local bands until he finished high school. In 1974 he attended Berklee College of Music where he began studying with Gary Chaffee. He stayed at Berklee for two years, during which time he hooked up with Cooper and toured and recorded with him. In 1978 Vinnie left Boston for Los Angeles where he started to play with Tom Fowler. Tom informed him that Frank Zappa was audi- tioning drummers, and from there Vinnie began his two-year musical relationship with Zappa. During this period, Vinnie recorded the now classic albums Joe's Garage, Shut Up 'n' Play Yer Guitar, and Tinsel Town Rebellion. In 1981 Vinnie left Zappa and, with recommendations from Neil Stubenhaus and Jeff Porcaro, began his illustrious studio career that involved playing with Joni Mitchell, Pages, Gino Vannelli, Tom Scott, Eric Marienthal, Chick Corea, Bill Evans, John Patitucci, and Alan Holdsworth, as well as countless TV contracts and movie scores. In 1990 Vinnie left Los Angeles to audition for Sting in London, England. He recorded and toured with Sting for the next eight years, during which time he played on Sting's Ten Summoner's Tales, Mercury Falling, and the Soul Cages live video. It was also during this time that he recorded his self-titled debut solo album. In 1997 Vinnie recorded Randy Waldman's first solo album entitled Wigged Out and the follow up CD UnReel. After leaving Sting in 1998, Vinnie moved back to Los Angeles, where he now resides and has become the most in-demand studio drummer. He continues to tour and record with many artists including Faith Hill, Kimo Williams, Karizma, Jack Russell, SheDaisy, Joe Nichols, Jennifer Paige, Laura Pausini, LeAnn Rimes, Lee Ritenour, Take 6, Lee Ann Womack, Mike Stern, Robben Ford, Quincy Jones, and Marcus Vinnie's recording credits are too numerous to list, encompassing literally thousands of album recordings and many DVDs and videos. Vinnie's work on Randy Waldman's UnReel CD captures his brilliance in a unique recording session for you to listen to and study over and over again. 17</p><p>The UnReel Drum Book Randy Waldman, the jazz pilot, sitting in some of his favorite cockpits</p><p>The UnReel Drum Book Introduction The concept of the UnReel recording was to bring my favorite musicians together and have them play the the most tricky, fun, and challenging arrangements I could come up with. The goal was to have a great time and feature the virtuosity of these great players.As you will hear, they far exceeded my greatest expectations, as usual! When Marc Atkinson first approached me and explained that he had transcribed all of Vinnie Colaiuta's drum solos from this I thought he must be either crazy, a genius, or someone with way too much time on his hands. Vinnie is the master of extremely complex polyrhythms, beat displacement, and all-around unfathomable rhythmic inventiveness. Trying to capture his playing on paper is a frightening thought and close to impossible. Marc has done it with amazing accuracy and great attention to detail. Even though the solos represented in this book are rhythmically technical and very advanced, Marc has broken down the elements of the material to the most basic level with simple exercises and explanations. He shows you how to take it one step at a time, enabling anyone with basic musical training and the ability to read music to learn and incorporate these techniques into his or her own playing. Start slow, be patient, have fun, and practice. A special thanks to Brian Benison (copyist for my charts), Warner Bros. Publications, and Dan Bodanis. Enjoy! Spencer questions Vinnie on his interpretation of the nine-note groupings over the bar during the recording of the UnReel CD while Randy Woldman looks on. 19</p><p>The UnReel Drum Book REISCN Vinnie during the recording of the UnReel CD</p><p>The UnReel Drum Book Notation Key Crash Cymbal Tom 2 Tom 4 Muted Crash Snare Bass Drum Ride Cymbal Cross Stick Hi Hat Foot Sweep Snare Hi-Hat With Brush Open Hi Hat Foot Open Hi-Hat Tom 3 Tom 1 Mute Snare With Hand 2</p><p>The UnReel Drum Book Preliminary Exercises Disc T he following exercises are simple technique warm-ups designed to work on speed and 1. endurance. They deal with the single, double, and flam strokes, which are the basis of any Introduction stroke combination you will ever play. It is therefore important to have great facility in these three strokes, and these warm-up exercises will greatly improve that. Practice these exercises with both your hands and your feet at slow tempos until you get familiar with them. Hand Exercises T he first set of exercises consists of various hand exercises to help you develop good technique with regard to stroke type, evenness of sound, stick height in your strokes, accents, and the like. Follow the instructions and suggestions given with each exercise. Vinnie working on his stuff</p><p>The UnReel Drum Book Single Stroke Workout Disc P lay the following exercises using alternating strokes starting first with the right hand. Play through the exercise, repeating each bar four times: then move to the next bar without 2. stopping. Use a variety of tempos, but always maintain an evenness of stroke and stick height. Use one stick height for the unaccented strokes and another for the accented notes. Be consistent. Also vary your dynamic levels, playing the exercises softly. and all levels in between. When you have mastered the above, practice the same thing again, but starting with the left hand. 1. 9. 2. 10. 3. 11. 4. 12 5. 13. 6. 14. 7. 15. 8. 16. 23</p><p>The UnReel Drum Book Additional Workout Suggestions A fter completing Exercise I on the previous page as single strokes, go back over it with the following stickings: All notes and accents played with the right hand only. 2. All notes and accents played with the left hand only. 3. All notes and accents played as follows: Groups of Four Groups of Three 1. RLRR LRLL RRL 2. RLLR LRRL 2. RLL 3. RRLR LLRL 3. LRR 4. RLRL LRLR 5. RRRR LLLL Groups of Five Groups of Seven RLRLL RLRLRLL 2. LRLRR 2. LRLRLRR 3. RLLRR LRRLL 3. RLLRRLL 4. LRRLLRR Note: When working on the groups of three, five, and seven, you might want to change the time signature to reflect the grouping you are working on. As a result, the groups of three will be in 3/4, the groups of five will be in 5/4, and the groups of seven will be in 7/4.</p><p>The UnReel Drum Book Double Stroke Workout I n these exercises all sixteenth notes are played as single strokes and all thirty-second notes are played as doubles. You should practice leading with both hands. Sticking exam- ples are illustrated in Exercises 2 and 3 below. 1. 2. RRLR L RRLRL RRLRL RRLRL LLRLR LLRLR LLRL R LLRLR 3. L R LLR L L LRRLR L RRL R L RRL R LRRLR 4. 5. 6. 7. 8. 25</p><p>The UnReel Drum Book Double Stroke Workout (cont.) 9. 10. 11. 12 13. 14. 15. 16.</p><p>The UnReel Drum Book Additional Workout Suggestions Play this system as single strokes. Play all the sixteenths with just the right hand and all the thirty-seconds as double- stroke rolls. Switch to playing all the sixteenths with the left hand. Vinnie during the recording of the UnReel CD 27</p><p>The UnReel Drum Book Flam Workout P ractice these exercises first with the left hand leading the flams-that is, the left hand playing the grace notes - then the right hand leading the flams, and, last, alternating the flams. Sticking examples are illustrated in Exercises 2 and 3. 1. 2. R L R R L R L R R L RRL R 3. RRLRL RRLRL RRLRL RRLRL LLRLR LLRLR LLRLR 4. 5. 6. 7. 8.</p><p>The UnReel Drum Book Flam Workout (cont.) 9. 10. 11. 12. 13. 14. 15. 16. 29</p><p>The UnReel Drum Book Rhythm Scale Exercises T hese exercises are the fundamental building blocks that will help you assimilate the drum transcriptions. You should be very familiar with these exercises before playing the solos. They will lower the learning curve dramatically, help your understanding of the solos, and greatly improve your time and groove. Go through each of these exercises slowly and as accurately as possible. Use a metronome or drum machine at all times. Try the following practice tips as a guideline in approaching the rhythm scales. Start with the first rhythm scale over one beat. Set your metronome to 40 and work on each rhythm individually. Pick the rhythms you are the least familiar with and work on them first. Play the first scale using single strokes. Play each line at least 100 times and then move to the next one. When playing the rhythm scales for the first time, you will want to count out the rhythms you are playing to help with accuracy. While playing any of the rhythmic groupings, it is important to count and feel the pulse of the metronome. You want to be able to play any of the rhythms while always feeling where the quarter-note pulse is. Once you learn each rhythm individually, begin working on moving from one rhythm to the next and back. Pick one of the easier foot ostinatos and begin practicing the scales over the top. Gradually work on playing the scales over various more complex foot ostinatos. Work up the rhythm scales over two beats and four beats. Note that the techniques presented here are intermediate to advanced rhythmic concepts. If fundamental rhythmic understanding and drumset techniques are not in place, you will not be able to perform these materials in a technically correct or musical fashion. Numerous drum methods are available to help you develop your basic skills, and you should study them with the help of a good teacher. This material also assumes you have some familiarity with polyrhythms, advanced rhythmic groupings, metric modulation, odd-time signatures, and the like. Pages 139-140, "Working Out presents a supplemental how-to for deciphering and playing many of the rhythmic groupings and concepts presented here. 30</p><p>The UnReel Drum Book Foot Ostinatos W hen you can play all the variations on the rhythm scale in your hands, try adding the following foot ostinatos underneath. At first, start with the single stroke hand pattern and play that with all the foot ostinatos; then gradually change to the doubles and paradiddle hand patterns and the like. Disc / Disc 7. 4. 4. Played with Rhythm Scale over four beats as Played with Accenting Rhythm Scale, 46 alternating p. 36 Disc 2. 5. 6. Played with Rhythm Scale over four beats phrased as paradiddles, p. 42 3. 6. X X 7. Disc 8. 5. Played with Rhythm Scale over four beats phrased as double strokes, p. 40 9. 10. 11. 31</p><p>The UnReel Drum Book Rhythm Scale Over One Beat Disc T he objective of the following etude is to play from beginning to end without stopping. 3. Practice each line individually at then practice connecting to the previous and next line until you can execute the whole exercise from beginning to end. with quarter notes in the feet</p><p>The UnReel Drum Book Rhythm Scale Over One Beat (cont.) 10 10 10 13 15 15 33</p><p>The UnReel Drum Book Rhythm Scale Over Two Beats Disc A gain, the objective of the following etude is to play from beginning to end without stop- 8. Practice each line individually at first; then practice connecting to the previous and next line until you can execute the whole exercise from beginning to end. This example is played with the feet with Hand Ostinato #5. p. 52 7:2 7.2 10.2 10.2</p><p>The UnReel Drum Book Rhythm Scale Over Two Beats (cont.) 13.2 35</p><p>The UnReel Drum Book Rhythm Scale Over Four Beats Disc A with the previous two etudes, the objective is to play from beginning to end without 4. stopping. Practice each line individually at first; then practice connecting to the previous and next line until you can execute the whole exercise from beginning to end. Played with Foot 31 5:4 7:4 9:4 10:4</p><p>The UnReel Drum Book Rhythm Scale Over Four Beats (cont.) 13:4 15:4 37</p><p>The UnReel Drum Book Rhythm Vinnie during the recording of Randy Waldman's previous CD Wigged Out</p><p>The UnReel Drum Book Phrasing Routines W hen you are comfortable playing the scale from beginning to end as single strokes, try the following exercises: Play the whole scale as double stokes on the snare drum. When that feels comfortable, move one of your hands to another sound source, i.e., tom, hi-hat, or cymbal. Now try to play the scale with a paradiddle sticking. Next, add accents to the beginning of each paradiddle. The accents will become the rhythm you are playing over four. For example, if you are playing five notes between each beat and you accent every four notes, the accents will be the five of five over four. Again, after this is comfortable, move one hand to another sound source. Play through the scale with flam taps or any other rudiment of your choice, eventually using many different rudiments. Play through the scale variations with your feet. As this becomes com- fortable, add a simple eighth-note groove with your hands. Also apply the same exercise principle between the hands and feet. Try to play the following hand-foot combinations through the rhythm scale. The final exercise in this section deals with playing through the rhythm scale as one rate and accents every note that corresponds with the scale. In this exercise, I chose a simple rate of sixteenth notes. The exercise then goes through the rhythm scale while keeping the sixteenth-note rate and uses accents to outline the scale. Once this can be played comfort- ably, work on playing the same accents with different rates. For example: Go through the whole scale with 3s, 5s, and the like. 39</p><p>The UnReel Drum Book Rhythm Scale: Double Strokes A S before, practice each line as needed, connecting to the line before and after and then play from the beginning to the end of the etude. 5. Played with #8. p. 31 *The example is performed over four beats instead of one. 10 10 10 10</p><p>The UnReel Drum Book Rhythm Disc A before, practice each line as needed, connecting to the line before and after it and then play from the beginning to the end of the etude. 6. Played with Foot Ostinate 31 *The example is performed over four beats instead of one. 10 10 10</p><p>The UnReel Drum Book Rhythm Scale: Paradiddle (cont.) 43</p><p>The UnReel Drum Book Rhythm Accent A before, practice each line as needed, connecting to the line before and after it, and then play from the beginning to the end of the etude. 10.2</p><p>The UnReel Drum Book Rhythm Scale: Flam Accent (cont.) 14.2 45</p><p>The UnReel The UnReel Drum Book Accenting the Rhythm Scale: Sixteenth-Note Rate Played with Foot Ostinato 1. Accenting every second note: 2.Accenting every third note: 3.Accenting every fourth note: 4.Accenting every fifth note: 5.Accenting every sixth note: 6.Accenting every seventh note: 7.Accenting every eighth note: Continues on next page</p><p>The UnReel Drum Book Accenting the Rhythm Scale: Sixteenth-Note Rate (cont.) 8.Accenting every ninth note: 9.Accenting every tenth note: 10.Accenting every eleventh note: 11.Accenting every twelfth note: 12.Accenting every thirteenth note: Continues on next page 47</p><p>The UnReel Drum Book Accenting the Rhythm Scale: Sixteenth-Note Rate (cont.) 12.Accenting every thirteenth note (cont.): 13.Accenting every fourteenth note: 14.Accenting every fifteenth note: 15.Accenting every sixteenth note:</p><p>The UnReel Drum Book Accenting the Rhythm Scale: Triplet Rate Accenting every second note: 2.Accenting every third note: 3.Accenting every fourth note: 4.Accenting every fifth note: 5.Accenting every sixth note: 6.Accenting every seventh note: Continues on next page 49</p><p>The UnReel Drum Book Accenting the Rhythm Scale: Triplet Rate (cont.) 7. every eighth note: 8.Accenting every ninth note: 9.Accenting every tenth note: 10.Accenting every eleventh note: 11. Accenting every twelfth note: Continues on next page</p><p>The UnReel Drum Book Accenting the Rhythm Scale: Triplet Rate (cont.) 12.Accenting every thirteenth note: 13. Accenting every fourteenth note: 14.Accenting every fifteenth note: 15.Accenting every sixteenth note: 51</p><p>UnReel Drum Book Rhythm Scale With Feet T he final section of the rhythm scale exercises deals with double bass drum or double pedals. The idea here is to play through the different versions of the rhythm scale with your feet while keeping an ostinato in your hands. There are two ways to do The first Disc method is to simply play an eighth note, sixteenth note, or triplet groove in your hands and run through the rhythm scale in your feet without changing the rhythm in your hands. Here 8. are some hand ostinato ideas. Rhythm scale, p. played over two beats with the with Hand Ostinate from this page 6. 2. 7. 3. 8. 4. 9. 5. 10.</p>