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 The Drummer's
CompleteVocabular
as taug/rthV
Alan Dawson

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MANHATTAN MUSIC PUBLICATIONS Is A REGISTEREDTRADEI'4ARKoF WARNER BROS. PUBLICATIONS
ALL RIGHIS RESERVED

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 The Drummer's
CompleteVocabular
as taug/rthV
Alan Dawson

drum tronscriptions,
music editingby

text editedby

CoverVhotos:NlclcPuopolo
6overQ boortdas/gn: yys, R"Brlnkley & Assoclates
PrAafi /Vana1€r:tloward Qoldberg

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or WenueR
by W anNr R Bnos . Pue l t c n r t o N s , 1 5 8 0 0 N . W. 4 8 r u A v r N u e , M t n m r ,F L 3 3 0 1 4 ( 3 0 5 ) 6 2 0 - 1 5 0 0
Dis t r ibut ed
MANHATTAN MUSIC PUBLICATIONS Is A REGISTEREDTRADEI4ARK oF WARNER BROS. PUBLICATIONS
ALL RIGHTS RESERVED

ANy copytNc oF THts MATERTALtN wHoLE oR tN PART wtrHour rHE EXPRESSwRtrrEN PERMtsstoN oF WARNER BRos. PuBLtcATtoNS rs A
VIOLATION OF COPYRIGHT LAW.

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WARNEBBBOS.PUBLICATIONS - THEGLOBALLEADERIN PRINT
USA:'15800
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 AboutthaAnthor
/ntroduction vi

A/anDawson
Qeorge vlll

DrscographV xi

f rhaRudiments I
The American Rudiments 1
The SwissRudiments 4
New Innovations 6
Chopsbuilders 8
The Rudimental Ritual 11
Gary'sFlamsand Arvin's Diddles 22,23

2 Four-WaV1oordinatlon 25
The First ThreeWays 25,26
Filling In Triplets 27
Eight Triplet Ways 30
Advanced Four-Way Coordination Specialthanks to Julia for her unwavering support.
3l
Thanks to my father Percy;my sonsCorey, Shaka,
Triplet Partials 31
Niko, and Evan; and my sisters(all three of them)
Odd-Time Blues 32
foy, Leslie,and Sandy.My deepestgratitude to
Even Eighth-Note Ideas 34 FlorenceDawson and the family for making this
lazzMambo 34 book possible.
Samba 35 Specialthanks to Paul Siegelfor his continued
The Kirby Special 36 faith and support in this project, and to Rob Wallis,
Cut-Time Rock 36 foe Testa,Howard Goldberg, Dave Olsen, Fred
Anton and everyoneat DCI/Warner Bros.;Andy
The ParaBossaand RufBossa 37
Zildjian and SteveOksenuk at Sabian;to John Good
"Oleo" 40 and Don Lombardi at Drum Workshop; Carol
Excerptsfrom Ted Reed'sSyncopation 4l Calato and Vanik at Calato RegalTip; John Floros;
fonathan Gorman; and Ron Savage.Thanks to Joel
3 Stng/e-StrokaKo//txerclses 45 Dorn and Michael Weiner at 32 Recordsfor "Blues
Mixing Singlesand Doubles 46 for Lester."
Doubles, Paradiddles,and Singles 47 Thanks again to Wm. Brinkley for design;Nick
Puopolo for the beautiful photography; Ken
4 sontng 48 Fredenberg,Kenny Updegraffe,and ]erry Steinholz
at Toca Percussion;Dean Anderson and Shawn
Soloing Over an AABA Tune 48 Brown for the biographlq Peter Kontrimas; and
Solo Ideas 49 world-famousPBSStudios.
Boston Eights 59
"Blues for Lester" 62 Photography:NickPuopolo, Winthrop, MA. Mr. Puopolo has been a freelance
jazz photographer for the past thirty years.
Trading 66
Coverand book deslgn:Wm.R. Brinkley & Associates,Somerville, MA

il
iW

1. Alan Dawson solo on "Blues for Lester" 1. Alan Dawson demonstratespracticing the
eiglrt triplet ways
2. Introduction
2. Nantalks about heel down technique
6haVter/ TheKudlments Time playing examples
3. The three-stroke ruff 3. Eighth-note triplet partials
4. The single drag 4. Secondand third partial-
5. The double drag bassdrum plays the line

6. Drag paradiddle #1 5. First and secondpartial-hi-hat playsthe line

7. The Rudimental Ritual slowversion played 6. First and third partial-

by Iohn Ramsay hi-hat short/bassdrum long

8. The Rudimental Ritual fast version played Triplet partials in odd times
byAlan Dawson 7. Parttalsin314
9. Alan Dawson talks about improvisation 8. Partialsin 5/4
10. Alan Dawson explains/demonstratesodd 9. Partialsin714
grouping patterns in 3| 4 and 5I 4 10. Partialsin 9/4
11. Alan playsOdd-Time Blues(5, 7 & 9)
6hapter2 four-WaV6oordlnatlon on vibraphone
11. Explanation of four-way coordination
12. Nantalks about time and practicing with
12. Snaredrum plays the line the metronome
13. Bassdrum plays the line 13. The IazzMambo
14. Snaredrum short/bassdrum long 14. Samba-the left hand fills in eighth notes
15. The left hand fills in triplets 15. Sambawith one stick and one brush
16. Alternating triplets 16. Right hand and right foot unison-the left
17. The triplet roll hand fills in eighths and eighth-note triplets

18. Three triplet ways switching randomly 17. The Kirby Special

19. Bassdrum plays the line- 18. Cut-time rock and variation played by
the left hand fills in triplets Alan Dawson

20. Hi-hat plays the line- 19. The Para-Bossa

the left hand fills in triplets 20. The Ruff-Bossa
21. Hi-hat short/bassdrum long- 21. Ruff-Bossavariation
the left hand fills in triPlets
22. The Roy Haynes Special
22. Snaredrum plays the line-
23. Nan demonstrateshi-hat short with foot,
bassdrum fills in triplets
long with stick and "Oleo"
23. S4aredrum plays the line-
24. IohnRamsay's notes on
hi-hat and bassdrum fill in triplets
Alan's performance-Alan demonstrates
24. The eight triplet ways
25. Alan talks about rudiments, other
drummers, playrng to records
26. Nan Dawson closing solo

A note about the audio

Some of the audio examplesplayed by Alan Dawson were remastered
from cassettetapesmade on a home tape recorder by the author during
his drum lessons(some durhg the early 1970s).Therefore, the soud is
not the best possible qualitv on theseparticular tracks.
W+#ffi
fohn Ramsayhas been pluyug and studying the Tel Aviv, Israel; and Heek, Germany, as well as
drums for the past 36 years.In addition to studying toured the Baltic countries. He is in his fifteenth
with Alan Dawson, he has studied with Max Roach, year of teaching at BerkleeCollegeof Music in
Art Blakey,Ed Soph, and Bob Moses.He is current- Boston,Massachusetts.
ly studying piano with Charlie Banacos,whose stu- iohn is featured with Art Blakey andtheJazz
dents have included Dani]o Perez,Iohn Scofield, MessengersBig Band, on the Blue Note Record
Michael Brecker, BillyPierce, Red Rodney, Mike compact disc titled The History of Art Blakeyand the
Stern, Larry Goldings, and countlessothers. JazzMessengertand the r98o TimelessRecords
For the past four years,|ohn has traveled to releaseArt Blakeyand theJazzMessengers BigBand
Havana, Cuba, where he studied drumset timbales Live in Montreux and Northsea.In addition to the
and tumbadoras (congas)at the National SchooL Blakey Big Band-which included Wynton and
for the Arts with Enrique Pla (of Irakare), Josd Branford Marsalis, Kevin and Robin Eubanks,
Eladio Amat, and |ose Miguel. In addition, while in JamesWilliams, and Billy Pierce-fohn has per-
Cuba he attended seminarswith famed Cuban formed with Sonny Stitt, fames Moody, Terrence
pianist Chucho Yaldez and percussionistJoseLuis Blanchard,Wallace Roney, Donald Brown, Kenny
"Changuito" Quintana. Baron, Cecil McBee, Eartha Kitt, Gregory Hines,
Most recently, John has traveled to Europe, the John Hicks, Walter Booker, Dave Liebman, Harvey
Middle East,and Asia, performing with Donald Schwartz,and the Clifford Iordan Big Band. John
Harrison, Billy Pierce,and Mick Goodrick. He has endorsesSabiancyrnbals,Drum Workshop drums,
taught and conducted clinics in Paris, France; Calato RegalTip drumsticks, and Toca Percussion.
Rome, Italp Helsinki, Finland; Athens, Greece; John is also the author of the drum book, Arr
Blakey'sJazzMessages,avarlablefrom Warner Bros.
Publications.

Facirrgpage)Alan at Harvard University, with Benny Carter.

I was a skinny kid from the hills of northwestern Massachusettsgoing to find this specialtraining?
Massachusetts,growing up two miles from the This was the '70s, and the music was changing;
Vermont border. It was in the 1960sthat I discov- there was this new thing called "fusion" with awe-
ered the drums. I knew very early that this was some drummers like Billy Cobham and Tony
what I wanted to do for a living, and so I did what Williams. I had heard that Max Roachwas teaching
many kids of the '60s did-I joined a rock band! at the University of Massachusettsin Amherst,
SinceI was lucky enough to join an already estab- which was not far from where I lived. I had to seek
lished working band (whose drummer had just him out; I was thirsty for drum knowledge. If
quit), I had an immediate induction into the world fusion was a melding of jazz and rock, I thought I'd
ofgetting paid to play. better find out what this jazz thing was all about.
For the next l0 yearsI played the music of the Max Roach-a living legend! There he was-
Kinks, Led Zeppelin, Grand Funk Railroad, the living and teaching in Amherst, the town I was
Beatles,Traffic, the SpencerDavid Group, Iimi born in. To my disappointment, I discoveredthat
Hendrix, and others. I was a self-taught rock Max didn't teach private lessons.He directed a
drummer. small group ensembleand a percussionensemble
The group becamethe center of my life. We but gaveno lessons.I neededmore.
lived for the group and for the music. We bought a I had heard about this guy named Alan Dawson.
van, a P.A. system,and a wardrobe, and we played He taught at the famous BerkleeCollegeof Music
colleges,night clubs, and high schools.Life was and had taught some famous drummers like Tony
good; we were happy; everybodyin myhome town Williams, HarveyMason, and others. Maybe he
knew my name. It was the '60s: "Peace& Love," could make me famous, too! Boston was about 100
and "Tune in, Turn on, and Drop Out." We were miles away from where I lived, but I didn't care;
the epitome of the counter.ulflus-<1qck stars"! I figured it would be well worth the trip.
But the '60s ended and reality set in. Like with I found Alan at Berkleeon the secondfloor of
most groups, personality conflicts arose,and eco- the 1140Boylston Streetbuilding, where I have
nomic pressurescame to the forefront. Peoplegrew beenteachingnow for 15 years.It was 1971,and
weary of long road trips in crowded vans, tired of Alan hadbeen teaching at Berkleefor about 18
carrying Hammond B-3 organs up fire escapes, years.When I knocked on his door that fateful day,
tired of lifting Marshall amplifiers as big as refriger- I was met by a friendly, smiling gentleman.When I
ators, and yes,even tired of carrying around those askedif he acceptedoutside students,he informed
two 24-inch bassdrums. The band broke up. This me that I had come at a good time becausein a few
would become a recurring theme for me-the months, he would be leaving Berkleeto start his
band alwaysbroke up. I finally got the message:If I own private teaching practice at his home in
was going to survive as a musician, I would have to Lexington. This was the beginning of a relationship
learn other skills, other styles,and I'd have to learn that would last until the time of his death in 1996.
to read music. In other words, I neededa formal I beganstudying with Alan in 1972, driving 180
education. But where was a kid from western miles round-trip for my lessonsin Lexington.
I rrould study on and offwith Alan for the next Stone'sStick Controlto the drumset while singing
se\€n years.In 1982,I began teaching at Berklee, the melody to various standard song forms (AABA,
and at that time, I went back to Alan for some ABAC, ABAB, etc.), and then soloing over the tune
-graduate work." There was alwayssomething to while still singing aloud.
leam from a master drummer like AIan. You might have the impression that Alan was
I remember one of my earliestlessonswith Alan. more than just a teacherto me-and you'd be
i askedhim for an assessmentof my abilities (since right. He was a role model in the truest senseof the
I had been playing professionallyfor 10 years).He word. He showed me by examplethat you could be
said that although I was a proficient drummer, I a musician and have control over your careerand
rvasreally a beginner-I couldn't read music, I life by being educatedand having true knowledge
didn't know many rudiments, and I knew little about your craft. He showedme that if you had real
about four-way coordination. He told me the truth. skills, you could make choicesabout when and
That's one ofthe things I'll alwayscherish about where you played, and who you played with, and
-{an. He had a way of telling you the truth about equally important, how much you got paid! He
vourself that wasn't hurtful, but made you want to showedme that if you wanted to be a musician,
rrork harder to become a better drummer. If you you didn't have to be a scuffling, starving artist
hadn't practiced enough, he knew it, and he would type. He was a model of confidence,dignity, and
let you know by telling you that you'd be working integrity for all drummers who knew him.
on the samematerial until your next lesson.You Were it not for Alan Dawson, I probably would
couldn't cut corners with Alan. not be where I am today, which is a pretty good
Alan knew more than 80 rudiments (American, place to be for a kid from the hills of western Mass.
Swiss,New Innovations, and Chopsbuilders), and
he gaveyou three a week to work on. If you could- Thank you, Alan,
n't play those satisfactorily,you didn't get the next
three-and you wanted those next three because
after you learned them all, you got to learn the
Rudimental Ritual. This was an application of all
the rudiments played in 4- and 8-bar phrasesover a
W{-a--
]ohn Ramsay
BossaNova foot ostinato. The Rudimental Ritual AssociateProfessor
r!?s one of the things that led me to view Alan as a BerkleeCollegeof Music
genius of playing and teaching the drums.
Another stroke of geniuswas the way he created
more than 40 ways to interpret Ted Reed'seight
pagesof syncopation exercises,using different
combinations of four-way coordination.
Everything about his teaching was original and
extremely creative,like the way he applied George
 DeanAnderson

| ?2q-t ??6

February23,1996,Alan Dawson,one of the most still just a nice place to visit." He maintained an
distinguishedjazz drummers and the inspirational active recording career,taught clinics, did some
teacherfor many of today's giants in the drumming brief tours, and in 1957becamethe housedrummer
community, died of leukemia at the ageof sixty-six. for six nights a week at Wally's Paradisein Boston.
Alan is rememberedfor his dedication to his Also in 1957, Nan began his l8-year association
craft and the excellencethat he alwayssought to with BerkleeCollegeof Music. In the late 1950s,
attain. Most important, his determination for excel- Alan performed with ]ohn and Paul Nevesat the
lence was passedon to every one of the many stu- Mount Auburn 47 CoffeeShop in Cambridge,
dents he came in contact with over the years.Alan's Massachusetts,and worked with Herb Pomeroy at
performance credits are staggering,like reading a the Stablesfrom 1959-1960.
who's who in jazz: Oscar Peterson,George From 1963-1970,Nanwas the housedrummer
Shearing,CharlesMingus, Woody Shaw,Phil at Lennie's on the Turnpike in Peabody,
Woods, Sonny Stitt, Dave Brubeck, Lionel Massachusetts.It was during this important period
Hampton, ReggieWorkman, Quincy ]ones, Dexter of time that Alan's recognition grew to a very high
Gordon, Tal Farlow, Earl Hines, RahsaanRoland level. At Lennie's,Alan had the opportunity to per-
Kirk, Frank Morgan, Hank |ones, Frank Foster, form with many of the leading artistsin jazz.
PhineasNewborn, CharlesMcPhereson,|aki Byard, During this time, Alan enabledmany important
TeddyWilson, Booker Ervin, ]amesWilliams, Phil musiciansto experiencehis musicianship and his
Wilson, Terry Gibbs, and many others. As impres- love for music. Thesequalities led Alan to become
sive,are the former studentswho have gone on to Boston's drummer of choice for local players aswell
become their own innovators: TonyWilliams, Terri as all of the touring jazz giants.
Llme Carrington, SteveSmith, JoeLaBarbera,foe In the 1960s,Alan's New York recording experi-
Corsello, Kenwood Dennard, John "J.R." Robinson, enceshit full stride with saxophonistBooker Ervin's
CaseyScheuerell,Harvey Mason, Vinnie Colaiuta, recording project, The FreedomBook This and
Keith Copeland,Iake Hanna, BobbyWard, Akira other legendaryrecordingswith Ervin inspired
Tana, and many, many others. many drummers to pursue the path of the drums.
Alan was born in Marietta, Pennsylvania,and Additionally, Alan's work with Iaki Byard on piano
raisedin Roxbury Massachusetts,a suburb of and Richard Davis on bassfor Prestigerecordswas
Boston. He studied drumset for four yearswith per- substantialbetween1963and 1968.
cussionistCharlesAlden before having to servein From 1968-1975 1Janworked with the Dave
the Army in 1951for Korean War duty. Alan played Brubeck Quartet and toured with Brubeck's family
with the Army Dance Band while stationed at Fort band, Two Generationsof Brubeck. Dave Brubeck
Dix from l95I-I953. During his Army experience, commented on Alan's playlng by sayingthat not
Alan was able to dive right into the post-bop era by only is it "his technieue, the wonderful way he
performing with pianist SabbyLewis'seight-piece swingswithout even thinking about it-but it's how
band, and after his releasefrom the Army, he he accomplisheseverFthing,his flowing approach to
embarked on a three-month tour of Europe with the drums, that setshim apart."
Lionel Hampton. Alan alwaysmade mention of his ln 1975,Alan suffered a ruptured disc and need-
generaldistastefor touring by recalling the ed surgery.He made a decision to stop all touring,
Hampton tour which featured low pay and poor end his l8-year tenure at BerkleeCollegeof Music,
working conditions ("three months that seemed and return to limited teaching at his home in
like fifteen years"). It was at about this time that Lexington, a suburb of B-oston.In addition, Alan
Alan married the love of his life, FlorenceHowell. formed a quartet with JamesWilliams, Bill Pierce,
During the mid-'50s, Alan struggledto stay in and Richard Reid, and establisheda more staid and
Boston and avoided relocating to New York. relaxedlifesryle.Alan's decision to limit his teaching
Recently,Alan noted that "You used to have two to 30 hours per week actually succeededin produc-
choices-the road or New York. Now vou iust have ing an impressivewaiting list of studentswho want-
to be near an airport. I'll admit that New York is ed to learn his "ritual" for practice,his secretfor
one of the most exciting cities. For me, though, it's independence,his obsessionwith obtaining musical

Used by permission ftom Percussive Notes magazine

vlrl
variation,and his questfor control ofsound, color, rebound help and, therefore,would give one the
andswing. senseof"picking up" the sticks.Alan alsostressed
Alan admits that he neverstartedout to be a properpostureat the drumsetand relaxationin
teacherbut a performer first and foremost.In 1954, body movements.He relatedtheseimportant issues
Alan beganan informal imparting of information to to the balancein sound in one'splaying and the
Clifford |arvis,and shortly afterwards,communi- abi l i tyto controlal l four l i mbs.N an' s em phasis on
catedin a more formai manner by taking on Tony physi calbal ance comesfrom the i mpa ctI o Jones
Williams and othersasstudents.Then, Alan began hadon A l an' spl ayi ngsryl e.
teachingat BerkleeCollegeof Music and he began Alan's teachingalsoreflectedmany broad truths
to analyzeeverlthing that he was playing. AIan such as:
slowly developedto a point wherehe felt comfort- ff One cannotmakeprogress w i thoutm aking
ableasa professionalplayerthinking like a teacher, m i stakes.
and asa teacherwho could readilyimpart all of his ffi When one hasto play last,try to loosenup.
performancesecretsto others.Once Alan attained !#:tWork to develop control-strength comesfrom
this important balancebetweenteachingand per- repeti ti on.
forming, he found that both areasimproved signifi- il& One can neverhaveenoughknowledge,but just
cantly. becauseyou know how to play somethingisn't a
Alan's approachto teachingwas simple.He pn- reasonto pl ayi t.
marily taught peopleto play music, and the instru- & A l w avsl i stencl osel yto al l the musicar oundyou.
ment itselfwas secondary.AIan alwayswantedhis #a Studythe historicalperspectiveof the music you
studentsto havean understanding,appreciation, are playing.
and respectfor the music itself.Alan stressedthe ffi A teachershould try to stimulatea student's
two most important things in music asbeing i magi nati on and creati vi ty.
rhlthm and melody, and how they complemented Alan was alwaysextremely proud of all his stu-
eachother in the music of all ethnic styles.Alan had dents.He realizedthat somewere more talented
studentssing tunes alongwith exercises to help than others,though he was equallyproud of them
them learn the forms of tunes.Alan felt very strong- all. Alan truly believedthat every,thinghe gaveas a
ly that it's very important for one to know the teacherhe had got back, and more, in return. AIan
melody and the form of a tune so that the drummer was one of the last remaining teachersto havehad a
can fulfill his/her role in a betterway. platformto consistently teachso many drummers.
Alan waswell noted for a teachingconceptof W e w i l l al w aysbe remi ndedof A l an' sper per ual
four-way independencevia a musicalapproachoy smile,fixed gaze,andhis deeppassionto teach.The
usingTed Reed'sSyrcopationfor theModern voi d l eftby hi s passi ng w i l l remai n,and t he inspir a-
Drummer and GeorgeStone'sStickControl.,Llan tion that he was to all of thosewho studied,played,
alwaysfelt that coordinationwasgood to have, or l i stenedto hi m performw i l l l i veon.
though if taken to extremes,it could set up rh)'th- The tollowingquotesby someof today'sleading
m i c i n te rfe re n ci e
n s te a do [k e e pi ngthegroove performersand educatorstruly exemplilythe
going. He went beyond using exercisesand books i mpactN an had on thedrummi ngcomm unit y.
fo r te c h n i c apl u rp o s e b
s u t p u r suedmusi calw aysto
utilize those materials. He had studentswork on JohnRobinson:Once t wasfinallyableto havethe
v a ri o u sd ru m ru d i me n tsAmeri: can,S w i ss,and opportunity to study with Alan, a part of me would
"innovations" (rudimentshe cameacrossor creat- havebeensatisiiedjust to hear the storiesfrom a
ed)-always with the intent of beingableto utilize l egendor i ustto w atchand hearhi m play.Then he
them in a musicalway. Alan once statedthat "the introduced me to Ted Reed'sSyncopation for the
differencebetweenjazzandother musicis like the ModernDrummer.That changedmy life.Alan's
differencebetweenmarching and dancing- teachingtechniqueshowedme chart reading,confi-
marching is done on the heelsand dancingis done dence,songsense, and mostof al l ,groo ve.What
on the toes.If you take awaythosewritten accents Alan did for rnusic is unrivaled. What Alan did for
on the beat or syncopatethe rolls, then you can get drummersi s godl y.Therew i l l be no otherlike him ,
a nicejazzfeel." and I shallmisshim greatly.
Alan advocatedthe useofbrush playing for all
sticking exercisesand rudimental work. He felt that Fred Buda: During my many yearsteaching with
b y u s i n gb ru s h e so. n e w o u l d n' tbe getti ngmuch Alan, we sharedmany musical ideasand thoughts

,x
The Drummer's CompleteVocabulary

about guiding young drummers through the chal- 30 days.A.D. had a certain crispnessto his sound-
lengesof the art and professionof music. Alan a snap, crackle,pop, if you will. Alan was one of the
taught his studentsabout the mechanicsof playing, best soloistsever to play the instrument. He was a
but he mostly emphasizedthe importance of swing- person of great integrity, very dignified, respectful
ing and making the time comfortable for other of others, and alwayswith that warm smile. Alan
musicians so they can sound their best.Alan was a was "Awesome Dawson."
great musician and friend, and I know that his influ-
encein music will be felt for a long time to come. Jon Hazilla: I never had one specific"moment"
with Alan that changedmy life and music-
Kenwood Dennard: My beloved teacherand men- rather, my life and music were forever changedthe
tor, Alan Dawson, has influenced me in at least 13 moment I met him.
ways: outlandish independence,vibraphone play-
ing, singing, controlled-clean technique, meticulous Terri Lyne Canington: Alan Dawson was not only
reading abilities, attitude of excellence(so impor- one of the greatestdrummers and one of the great-
tant), brushwork, bebop repertoire, form, practical est teachersin the world, he was one of the greatest
applications, space,feel, and my six-way panasonic people in the world. To be a great teacher,one has
coordination concept. to have a big heart and a large capacityto love. Alan
had both ofthose qualities and was very generousto
Gary Chaffee:Alan Dawson was one of those all who came in contact with him.
unique individuals whose talents coverednot only When I started playrng drums at ageseven,he
performance,but also education. When I came to was the person my family contacted for lessons.He
head the Berkleepercussiondepartment, it was my refusedto teach me until I was fourteen for fear that
first opportunity to meet Alan and to work with his discipline might discourageme. I didn't realize
him. He was an outstanding teacherand one of the until many yearslater how compassionatethis was
most dedicatedonesthat I have ever met. of him. I'll miss Alan's artistry and friendship dear-
Additionally, Alan's expertiseas a performer is well ly, and I only hope that he felt in return the love
documented through his many recordings. He has that we all had for him.
worked with some of the top playersin the field.
His passingis a great loss to the whole drumming TonyWilliams.'Alan Dawsonwas one of the best
communiry and he will be greatlymissed. drummers in the world. That's a fact, not just my
opinion. I met Mr. Dawson when I was nine years
Lennie DiMuzio: For many years,Alan was more old. He went out of his way to encourageme, help
than just a greatartist with the Zildjian Company. me, and to seethat I had the opportunities to devel-
To me, he was a very specialfriend. Very few people op my meagerskills and go further. For example,
know that Alan and I go back about forry years. Mr. Dawson had his trio (Paul Neveson piano and
When I was drafted into the Army during the John Neveson bass)playrng at the famous Club 47,
Korean conflict, I auditioned for the Army Band at Mt. Auburn Club in Carnbridge,MA. Saturday
Fort Devens,MA. Guesswho the auditioning per- nights he would drive 100 miles out of his way to
son was?It was none other than Alan. Hd was the pick me up in Roxbury drive to Cambridge to let
drummer in the Army Band stationed at Fort me perform with his trio, present me to the public,
Devens,and what a break it was for me. When he let me gain valuable experience,and then return me
found out that I was studying with his former safelyhome before returning home himself to
teacherCharlie Alden in Boston, we becameinstant Lexington, MA. I was twelve yearsold.
friends. Later, we met on various occasionsthrough Every drummer, local and worldwide, knew of
the Zrldjtan Company, and it was the beginning of a his legendaryspeed,precision, and control. Mr.
long, beautiful relationship with a beautiful person, Dawson didn't teach me only to play the drums: he
and one whom I'll never forget! taught me how to conduct myself as a musician and
as a man.
CaseyScheuerellAlan was the best mentor a drum- Thankyou, Alan Dawson.
mer could have. Music, melody, and form were
what impressedhim. He would bust you in a New Dean Anderson is the chair of the petc*sion departuent at Berklee Collzge of Music
York minute for losing your place in a tune. If you where he h6 taught since 1974, Deofl is a frember ofthe Boston Pops Bplanade Orche*rc
with numaous paformaflces with the Boston Smphony/Boston Pops, principal pacus-
didn't practice, he could make 30 minutes feel like sionist with the Bostofl Ballet Orchesta, afld tulo pqcusionist with Botton Musica Viva.

x
 Michael Haggerty

ts53 Lucky Thompson, Gigi Gyrce and Art t?65 Boornn EnvrN, Quartet Live at Lennie's
Farmer in Pans. Lucky Thompson, Gigi ontheTurnpike. (Yol.1 & 2) Iaki Byard,
Gpce, Art Farmer, fimmy Cleveland, ]oe Farrell, GeorgeTucker, Alan Dawson.
Martial Solal, Henri Renaud,Anthony 4/65 PrestigePCD24L2L
Ortega, |immy Gourley, Alan Dawson.
7128/53Vogue CD 09026-68216-2. Cnenres Mcnnenson, Con Alma! Charles
McPherson, Clifford Jordan, Barry Harris,
Clrrrono BnowN, Big Band in Paris. GeorgeTucker,Alan Dawson.816165
Clifford Brown, Art Farmer, Quincy ]ones, Prestige7427.CD OIC 1875.
Walter Williams, Fernand Verstraete,Fred
Gerard, Jimmy Cleveland,Bill Tamper, Al Lrn Kourrz, LeeKonitz.... LeeKonitz,
Hayes,Gigi Gyrce,Anthony Ortega, Chet Baker, Keith Jarrett, Charlie Haden,
Clifford Solomon, Henri Bernard, Henri BeaverHarris, Bill Evans,Niels-Henning
Iouat, Henri Renaud, Pierre Michelot, Orsted-Pedersen,Alan Dawson. lazz
Alan Dawson.9I 28153 Vogue/Prestige/OlC. Connoisseur113.

Lrownr.Hauprox, Oh Rock!Lionel Len Kourrz, Quartet in Europe. Lee

Hampton, Clifford Brown, Art Farmer, Konitz, PhineasNewborn, Oscar Pettiford,
Quincy Jones,Walter Williams, |immy Kenny Clarke, Bill Evans,Niels-Henning
Cleveland,Buster Cooper, Al Hayse,Gigi Orsted-Pedersen,Alan Dawson. Unique
Gyrce, Tony Ortega, Clifford Solomon, Iazz2l .
Clifford Scott, Oscar Estell,George
Wallington, Billy Mackel, Monk Lnn KoNrrz and Bnr. EveNs, Together
Montgomery AIan Dawson, Curley Again. Lee Konitz, Bill Euutrt,,Ot"tr-
Hamner. NatashaNI 4010. Henning Orsted-Pedersen,Alan Dawson.
10129165 &r0l3ll65 Moon 024.
p63 Boornn EnvrN, TheFreedomBook ,
Booker Ervin, )aki Byard, Richard Davis, Boornn EnvrN, Settingthe Pace.Booker
Alan Dawson. l2l 3l 63PrestigePR Ervin, Dexter Gordan, |aki Byard, Reggie
729slOIC. Workman, Alan Dawson. PrestigePR 7455

,?64 Booren EnvrN, The SongBook Booker SoNNyRor.rrNs Tsto, Live in Europe 1965
Ervin, Tommy Flanagan,Richard Davis, Sonny Rollins, Niels-Henning Orsted-
Alan Dawsen.2127164PrestigePR Pedersen,Alan Dawson.MagneticCD 118
73r8lOIC.
Booxnn Envru, Lament for Booker Ervin,
Booren EnvrN, The.BluesBook Booker Booker Ervin, Kenny Drew, Horace Parlan,
Ervin, Carmell Jones,Gildo Mahones, Niels-Henning Orsted-Pedersen,Alan
Richard Davis, Alan Dawson. 6130/64 Dawson. 10/29165Enja/Inner City 3006.
PrestigePR 7340lOlC.
ferr Bveno, FreedomTogether.Jaki Byard,
Boornn Envru, Groovin'High. (sameas Richard Davis, Alan Dawson, Jr. Parker.
TheBluesBook).6/30164PrestigePR74I7. PrestigePR7463.

BooxEn EnvrN, The SpaceBook Booker Bcroren EnvrN, TheTrance. Booker Ervin,
Ervin, Jaki Byard, Richard Davis, AIan faki Byard, ReggieWorkman, Alan
Dawson. L0l2l64 PrestigePR 7386/OIC. Dawson. 12| 27I 65 PrestigePR 7 462| OIC.

|exr Byano, The Experience. lalct Byard,

Roland Kirk, Richard Davis, Alan Dawson.
Prestige.
TheDrummer's CompleteVocabulnry

1966 Booren Envrx Sexrsr, Heavy!!! Ir.r.rNorsJecqunr, Flying Home. l2FO Dnxrnn Gono,lN. ThePanths-
Booker Ervin, ]immy Owens, Illinois ]acquet, Russell]acquet, Dexter Gordan, Tommy FlanagaDt
Garnett Brown, Richard Davis, JoeNewman, |.). |ohnson, Ray Larry Ridley, Alan Dawson- 7/7/7O
Alan Dawson. PrestigePR7499. Perry,Leo Parker,Maurice PrestigePR 10030.
Simon, Milt Buckner, Cedric
SoNr.TyCnrss, This Is Criss. Haywood, Sir Charles Deve Bnusecrc,Live in Msia
Sonny Criss, Walter Davis, Paul Thompson, Lionel Hampton, City. D ave Brubeck, Gerrv
Chambers,Alan Dawson. )ohn Collins, GeorgeDuvivier, Mulligan, Iack Six, Alan Dawson-
Prestige/OlC. Alan Lucas,Alan Dawson, Io 5/70 Columb ia Legacy 6482O-
Jones,ShadowWilson. 7/67
Enrc Kross, Grits andGrary. Bluebird ND 90638. Deve Bnusecr. Live in Berlin
Eric Kloss,faki Byard, Richard Dave Brubeck, Gerry Mrtlligan,
Davis, Alan Dawson. 12122166 t?a IrrrNors |ecquer, Bottoms Upt JackSix,Alan Dawson.lllTD
PrestigeP 7486. Illinois |acquet, Bar.ryHarris, Ben Columbia Legaq 64820.
Tucker, Alan Dawson. 3/26168
ts67 LroNpl Hautrox, Reunion at Prestige7575. | 2Fl DevB Bnusn cr, The Last Seto
Newport. Lionel Hampton, Newport. Dave Brubeck, Gerr"v
SnookyYoung, Iimmy IrrrNors Jecqurr, Go Power! Mulligan, fack Srx,Alan Dartson
Nottingham, |oe Newman, Illinois )acquet,Milt Buckner, 7l7l Atlantic81382.
Wallace Davenport, Dave Alan Dawson.Cadet773.
Gonzalez, Al Grey, Garnett NerneN Devrs, 6th Sensein tllc
Brown, Britt Woodman, Walter t969 Enrc Kross, Inthe Land of the 1lth House, Nathan Davis,
Morris, Benny Powell, Scoville Giants. Eric Kloss,Booker Ervin, Roland Hanna, Richard Davis,
Brown, Ed Pazant,George |aki Byard, Richard Davis, Alan Alan Dawson. Segue1002.
Dorsey, Bobby Plater, Frank Dawson. | / 2169 Prestige7627.
Foster,Dave Young, Eddie Pf2 SoNNvSrtrr,Tune UpI Sonnv
Chamblee,Illinois facquet, Senen YnvouN, JazzfestMasters. Stitt, Barry Harris, Sam|ones, Aha
|erome Richardson,Curtis Lowe, SarahVaughn, Clark Terry,Zoot Dawson. 2/ 72 Muse MCD 5334
Oscar Dennard, Tete Montoliu, Sims, |aki Byard, Milt Hinton,
fohn Spruill, Milt Buckner, Billy Alan Dawson. 6/69 Scotti Devn Bnunncl<, We're All
Mackel, GeorgeDuvivier, Pete Brothers CD 72392 7 5244-2. Together Again for the First Tbrc-
Badie,|une Gordner, SteveLittle, Dave Brubeck, Paul Desmon4
Alan Dawson, Maria Angelica. Rov Elpnrocp and Bucr< Gerry Mulligan, Iack Six,
Bluebird 07863661572. CrevroN, The Trump eters. Alan Dawson.10172& lll72
Roy Eldridge, Buck Clayton, Atlantic 81390.
Sor'rNyCxrss, Portrait of Sonny Clark Terry, Bobby Hackett, Jaki
Criss.Sonny Criss,Walter Davis, Byard, Richard Davis, Alan Newport inNew York'72: The
Paul Chambers,Alan Dawson. Dawson. 6/69 Scotti CD 75246. Jam SessionsVol. 1 and 2.
Prestige/OlC. Cat Anderson, fimmy Owens,
Peur DesN,IoNpand Gnnny CharlesMcPherson, Buddy Tate,
Enrc Kross, lst ClassKloss. MutlIcer, The lazzfest Masters. Milt Buckner, Roland Hanna,
Eric Kloss, |immy Owens, Cedar Gerry Mulligan, Paul Desmond, CharlesMingus, Alan Dawson-
Walton, Leroy Vinnegar, AIan |aki Byard, Milt Hinton, Alan 7I 6/72 CobblestoneCSP 9025-2-
Dawson. 7114167Prestige7520. Dawson. 6/69 Scotti CD 75248.
Pf3+4 DevB Bnusncr, All the
Enrc Kloss, Life Force. Tar Fenrow. The Return ofTal Things We Are. Dave Brubeck,
Eric Kloss, fimmy Owens, Pat Farlow. Tal Farlow, fohn Scully, Anthony Braxton, Lee Konita
Martino, Ben Tucker, Alan JackSix,Alan Dawson.9123169 Iack Six, Alan Dawson, Roy
Dawson.9118167 Prestige7335. Prestige7732. Haynes.7/1,7173& l0l3l74
Atlantic 81399.
 Discography

Devn Bnusncr, Time Signatures: Anr Merrnrws,lt's Easyto

A Career Retrospective. Remember.Art Matthews, Billy
Columbia/Le gacy52945 4CD. Pierce,Archie Shepp,Dizzy
Reese,CharlesFambrough, Alan
1974 Pnrr Wooos, Musique du Bois, Dawson. l2l4178The Matra 1001.
Phil Woods, ]aki Byard, Richard
Davis, Alan Dawson. Lll4l74 19re+9 |ern HeNne,Impressions. DorrrurquE E,xon,The Ruby and
Muse 5037. JakeHanna, GeorgeDuvivier, thePearl. Dominique Eade,Alan
Major Holley, Alan Dawson. 7/78 Chase,StanleyCowell, |ohn
|rvruv ReNey,Momentum, &7179 Blackand Blue 59.7532. Lockwood,Alan Dawson.6/20190
Jimmy Raney, Richard Davis, & 6/2l /90 Accurate 3924 CD.
Alan Dawson.Tl2ll74 PausaPR lq35 Rrcueno Hor.r.yoey, Moment's
7 0 2t . Notice. Richard Hollydan Billy KnN Pnprow src, Illuminations.
Pierce,famesWilliams, john Ken Peplowski,Howard Alden,
lqf6 PHrlWrrsoN, GettingltAIl Lockwood, Alan Dawson. Junior Mance, Dennis Irwin, Alan
Together.Phil Wilson, Mae ShiahSR 114. Dawson.Concord CCD 4449,
Arnette, Brother Blue, Andy
McGhee, Ray Santisi,Whit P85 Rrcrrenp Cenn eNo run Pno Live at the 1990Concord Jazz
Browne, Alan Dawson Bow Tnro, String Vibrations. Festival, First Set. Bob
OutrageousRecords 1. Richard Carr, Alan Dawson McConnelll, Harry Sweets
(vibes),|ohn Baboian,MarkPucci. Edison, Al Grey, Benny Powell,
Pff Ar.CouN, PlayitNow.AlCohn, ProgressiveRecordsPro 7047. Ed Bickert, Gene Harris, Neal
Barry Harris, Larry Ridley, Alan Swainson,Alan Dawson.8/18/90
Dawson.6119177 Xanadu 110. Gnner Iezz Qu txrw, Live in I apan Concord 4451.
SamMost (flute & tenor), Hank
lqfF-re HaNr loNns, I Remember Jones(piano), Ray Brown (bass), l99l Brrr. Prcncn, Onefor Chuck.
You.Hanklones, George Alan Dawson(drums). 1OlI5l85 Bill Pierce,Bill Mobley, Mulgrew
Duvivier, Alan Dawson, Oliver TDK RecordsTDCN 5138-39. Miller, Ira Coleman, Alan
Iackson. 7177& 7 178Black and Dawson.4/91Sunnyside1053CD.
Blve233122. lW RrcnanoandCnnrsropnen
Horrvoav, Oh Brother! Richard Ruby Brffi . . . And His New
19ft The Muse All StarsLive at Hollyday, Christopher Hollyday, Englnnd Songhounds(Vol 1 6 2).
Sandy's.Eddie "Cleanhead" John Medeski, fohn Lockwood, Ruby Braff, Scott Hamilton, Dave
Vinson, Arnett Cobb, Buddy Alan Dawson. I I ll | 86 lazz Beat. McKenna, Frank Tate, Alan
Tate, Ray Bryant, George Dawson.4/91 Concord CCD
Duvivier, Alan Dawson. 8125178 ,487 Sercnvro Lpcacy BtNo, Salute 4478t4504.
Muse MR 5198. to Pops (Vol. I 6 2). Freddie
Hubbard, Curtis Fuller, Alvin l??2 Howanp ALonN,AGood
Eoorr "Cr,eeNHEAD"ViNsoN, Batiste,Al Casey,Kirk Lightsey, Likeness.Howard Alden, Michael
Holil It Right There. (same per- Red Callender,Alan Dawson. Moore, Alan Dawson. 8/92
formers and date as The Muse All 6/87SoulNote 121116& 121166. Concord CCD 4544.
Stars)Muse MR5243.
lQe8 DoNaro BnowN, The Sweetest Aoeu Merowtcz, The Music of
Buooy T trn, Hard Blowin'. Sounds.Donald Brown, Steve ferome Kern. Adam Makowicz,
(sameperformers and date as Nelson, Charnett Moffett, GeorgeMraz, Alan Dawson.9192
above)Muse MR 5249. Alan Dawson. 6I 88 JazzCity Concord CCD 4575.
660.53.008/Evidence22203.
AnNnrr Coss and the MuseAll lqSS FnaNr WrrrrNs and Enrc
Stars,Live at Sandy's.(sameper- l99O KeN Prprowsrr, Mr. Gentle and Pneussen,In Our Time. Frank
sonnel and date as above) Mr. Cool. Ken Peplowski,Scott Wilkins, Eric Preusser,Lionel
Muse MR 5191/5550. Hamilton, Bucky Pizzarelli,Hank Giradeau,Alan Dawson (vibes).
Iones, Frank Tate, Alan Dawson. 2/93-7193.
2/90ConcordCCD 4419.
The Drummer's CompleteVocabulary

KnN Prplow s:r:',Steppin' with EonNArwooo, Cat on aHotTin P?5 Mrlr HrNroN, Laughingat Life.
Peps. Ken Peplowski,Randy Roof Allen Farnham, John Milt Hinton, Jon Faddis,Harold
Sandke,Ioe Wilder, Howard Goldsby, JessieDavis, Ken Ashby, Richard Wyands, Derek
Alden, Bucky Pizzarelli, Ben Peplowski,Alan Dawson. Smith, L1'nn Seaton,Brian Torff,
Aronov, john Goldsby,Alan I0 | 5| 93-10| 7| 93 Concord 4599. Santi Debriano, Rufus Reid, Alan
Dawson. 3i93 Concord CCD 4569. Dawson, Dave Ratajczak,Terry
A Seasonof Ballads. Donald Clarke. 3/95 Columbia 478178.
Brr.r-Mosr;v Sextnt, Triple Bill. Brown, Harold Mabern, Charles
Bill Mobley, Bill Pierce,Bill Thomas, Ray Drumlin, Alan AnBsaed Cnenr.ns Tnoues Tnro,
Easley,Kenny Barron, Christian Dawson. SpaceTime Records CharlesThomas, Ray Drumlin,
McBride, Alan Dawson, Ron 2G9703. Alan Dawson.
McBee.6128193 Evidence22163.
,9?4 MrrcH SnrpvraN.Fretware, AleN DewsoN, W altzin' with
CHnrsNnvIrrn, From the Mitch Seidman.Charlie Flo. Alan Dawson, Bill MobleY'
Gr eenhouse.Chris Neville, Kohlhase,Leonard Hochman, Andy McGhee, Bill Pierce,
Benny Carter, John Lockwood, Harvey Swartz, Alan Dawson. Donald Brown, IamesWilliams,
Alan Dawson.T123193-7125193 BrownstoneCD 11146. Ray Drumlin. Alan's onlY date as
EveningStar 102. a leaderto be issued.Fall 1998'
LeNNv Ho ctttrtrrN,Until
Aoe.rnrMerowrcz, My Favorite Tomorrow. Lenny Hochman, Specialthanksto: Bob Blumenthal, Fred
Things: The Music of Richard Eula Lawrence,Chris Taylor, Bouchard, Tom Everett,RussGershon,
Rogers.Adam Makowicz, Mitch Seidman,Harvey Swartz, Charlie Kohlhase,John Lockwood, Russ
GeorgeMraz, Alan Dawson. Alan Dawson, Ella Lou Weider. Musto, Rob Riordan, Mia Saunders,Steve
9/93 Concord CCD 4631. 4125194 &.4126194 Brownstone. Schwartz,JamesWilliams, and JackWoker.

Michael Haggerty has studied and worked in nearly eYeryareaof the jazz world.
As a disc jockey for more than fifteen years,he has hosted awee[y iazzintet-
view and music program on Harvard University's WHRB.

Left crash Ride cymbal

cymbal or Smallmounted
Hi-hat tom Rim shot Stickon

><
I Snare
A Stick Largetom Bassdrum Hi-hat
In the following chapter you will find a complete you the next three only when you demonstrated
listing of 26 American rudiments, 21 Swiss(includ- thesesatisfactorily.This method would have a
ing variations), 22 rudiments called New cumulative effect whereby eachweek you would be
Innovations (including variations) and 17 rudi- practicing a greaternumber of rudiments. Once
ments (with variations) called Chopsbuilders- you masteredone group of three, you would want
a total of 86 rudiments. to spend more time on the new group while review-
They are presentedhere just the way Alan ing and maintaining the previously learned ones.
showed them to me, first individually and then as When you try this method, by the time you have
part of the Rudimental Ritual. The Ritual will be learned a considerablenumber of rudiments. it will
coveredin greaterdetail later in this chapter. be difficult to practice them all every day. (Once
Alan's method for learning and practicing the you have learnedthe ritual this won't be a prob-
rudiments was to play eachone from slow to fast lem.) In the meantime, you maywant to rotate
gradually and back to slow again gradually. In through the previously learned rudiments over a
Alan's words, doing them this way would provide period of severaldays.For example:
"conditioning" for the hands while at the sametime Day 1. Work on first 9-12 rudiments plus
add to your vocabulary. He would also stressthat the new onesyou are on.
speedwas not the important thing but that sound Day 2. Work on next 9-12 plus the new
was. If they don't sound good sloq they won't ones.etc.
sound good when you play them faster.In my own Or try grouping them by tfpe. For example:
experienceteaching, I have found that many stu- Day 1. Work on all ruff qpe.
dents don't really play them slowly enough. I sug- Day 2. Work on all flam type.
gesta startingtempo of 1J; = 49. Day 3. Work on all numbered rolls, etc.
While studying with Alan, his studentswould I have grouped them here the sameway Alan
work on three rudiments per week. He would give grouped them when he taught them to me.

Thethree-strokeruff. The single drag. The double drag.

+(Fi { d

LL R LL R R L L R L RRL LLR LLR L RRL RRL R

RRL RRL

This rudiment is part of many

other rudimentsand should be
played with a closed interpreta-
tion. ln other words, keep the
grace notes low and,close.tothe
singlestroke. Think on the beat.
This rudiment does not alter-
nate. Play in each hand from
slow to fast (gradualfi).and back
to slow.
The Drummer's CompleteVocabulary

!---1 -"
p '*l'

Single ratamacue Doubleratamacue

? 3

LLR L R L RRL R L LLx LLR L RRL RRL

R R L R

Triple ratamacue

LLR LLR LLR RRL RRL RRL R L

L R L R

J * 6f*:;

R LLR RRL

Dragparadiildle #2
:>

LLR LLR RRL RRL

R L R L L R LR LLR L
* r- RRL RL RRL R

,#xd14P
Flam Flamtap Flam accent
?

Lg LX Lp n1
R
R1 R1
Lp R1

2
 The Rudiments

J-
I - 17'..,

Flamacue & **rarailiildle

Lg L R L LR
R1 R L R R1

Flamadiddlediddle

RRLLRLLRRL RRLL RLLRRLRRLL RRLLRR L

LLRRLLR
Seven-strokeroll off the beat
> Nine-stroke roll
>

LLRRLL R LLRRLL RRLLRRLLR LLRRLLRRL

RRLLRR L RRLLRR

Tbn-strokeroll > > Eleven-strokeroll Thirteen-strokeroll

R R L L R R L LR L R R L L R RLLRRL RRLLRRLLRRLLR
L L R R L L R RL R L L R R L LRRLLR

Fi{teen-stroke roll

LLR R L L R R L LR R L RRLLRRLLRRLLRRL
,} - L L R R L L R R L L R R L L R
TheDrummer's CompleteVocabulary

R. L R R L R L L RLRLRR LRLRLL

Double-strokeroll Singlg-strokeroll

RR L L R R L L RLRLRLRL
LLRRLLRR LRLRLRLR

Thpflam Pataflafla

R R1 L tR Ll L R R; - LI L
R1 R 1 LR RL R
SwissArmy triplgt Variation I Variation 2
?

Lx R L LR R L R R1 ,L R R1 L R LLR R LLR
R1 L R n1 L R L LR R L LR R L RRL L, RRL

Berger25

R LLR R L RRL L RRL I- LR

4
 TheRudimenb

Flam roll 5 FIam roll 9

Lx R L L R Lp R L L R R L L R
RL L R R L Rl L R R L L R R L

Singlewindmill Reversewinilmill

Lx R L RR1 LRL L LR R R1

Doublewindmill

a
- - - -
Ll R R L R Rg L R R

Three-strokeruff p aradiilillediddle

LLR RRL

Four-stroker uff p aradiddIediddle

LRLp RLRl

L LR L ".R R; - R R1 1 LR
TheDrumnrer's Completelbcabulary

Single ratamaflam Double ratamaflam

? 3

LLR L RRL RRL R LLR LLR LLR RRL RRL

L RRL R LLR

Triple ratamaflam

LLR LLR LLR RRL

RR1 RR L RR L L LR

Dragflam Flam double p arailidille

LLR Rg LLL Lq R LLR L R R L RRL R L L

LLR Lp LLR LX
RRL R1 RRL R ;_

Sk-stroke roll Variation 1

>> :>>

RL RRLLR L RRLL RRLLR L RRLLR L

LR LLRRL R LLRR LLRRL R LLRRL R
Variation 2 Variation 3
:> :> :>

R LL R R L R LLRRL RRL R LLRRL R LL

L RR L L R L RRLLR LLR L RRLLR L RR

5
 The Rudiments

Also in triplets

:> >>
RLRRLL
:>>
LRLLRR
:> :>
RRLLRL
>>
LLRRLR
>>
RRLRLL
>>
LLRLRR
:>>
RLLRRL
>>
LRRLLR

...- &&+:,&ffiffiffiffi
Starlight Roof with Jaki Byard and Whit Brown, 1985

Variation I (2 bars)
>

RLRRLLRLRRLL RLRRLLRLRRLLRLRR
L R L L R R L RL L R R

: >: >>

L RL L R R L R L L R R L R L L RLRRLLRLRRLLRLRRLL
LRLLRRLRLLRRLRLLRR

RL R R L L R L RR L LRLRRL LRL RR LRL L RRL RL LRRLRL LRRL R L L

TheDrurnmer's Complete\bcabuhry

Four-strokeroll
3 >> 3 >>

RR L L LLRR RLRL L RLRL L

RR L L RRL L LRLRRLRLRR
LLRR LLRR RRLRRLLRLL
RR L R LLRL >> >>
RRLR L RRLR L
>> >>
LLRLRLLRLR

Tiiplet paradiildle
3>

RR L R LL R. LRLL
D ouble triplet p aradiddle
3:>:> ? > :> >

R RLR R R LLRL
Tripletflamadiildle Double triplet flamailiddle
3>

R L RRL R L L R L RR L R L R L L
L R L LR L R R L R lLR L R L R R

Tripl efl amadi ddIedi ddl e

R RLRR L LRLL

RL R LR L LRL X RLR 1

T
 The Rudiments

Six-stroke with singles

>> : >>

R LRLRL RLRL R L RLRLR L RLRL

L R LRLRL R LRLR
Variation 1 Variation 2
:> > >>>>> >

RL R L R L RLRLR L R LRLRL R LRLRL

LRL R L R LRLRL R L RLRLR L RLRLR

Variation 3 Seven-strokew ith singles

>> > :> >

RL R L RL R L R L RL RLRLRLR LRLRLRL
LRL R LRLRL R LR
Eight-stroki roll
6 >> 6

R L RRLLRRL R L L R R LL

Flam ila-da Da-daflam

Flamflamilidille Paraflamflam

LpR;- RRlLX L LP LI R R1 R1
TheDrummer's CompleteVocabulary

Flamaflama diddle Flamaflamaflam flam

a a
-a

L q L LR L R R RL R RL R L L Lq LLR L L RL RRL RRL RRL R L

Flama flam flam diddle Flamaflam flam flam flam

Lx LL RL R L LRL RRLRL R R Lx L L RL RRL RL RL RRLRLLRLR

Gary'sFlams
>

LpLXLXRIRIRgLqLX Lq R; Rl Rg Ll LX LX R;_

R1R; LX LX LX Rg RI R;_ LXLXRIRlLXt-XR;_nl

RRIRI R L LR

:> :>

Lq Lq L R R1R1 RL
> > :>

R Rl RI L LR Lx

r0
 The Rudiments

In this section you will find Alan's famous reading it, it will take much longer to commit it to
Rudimental Ritual. After you have learned all of the memory.
rudiments in the previous section,you should Work from the CD recording to help with mem-
review them all with brushes.The ritual is to be orizing. The rudiments are all arrangedin four- and
played on the drumset with brushesover a bossa eight-bar phrases.Use thesephrasesto help with
nova foot ostinato. There are two important things your memorization. Be awarethat Alan applied cer-
to remember while playing the rudiments with the tain formulas to various rudiments which occur fre-
brushes.The first is to play on the tips of the brush- quently. For example,for rudiments in 3/4 time,
es (rather than the fan section). The secondis to be use this formula: four bars of 3/4 plus onebar of 414
sure to pick the strokesup (brushesdon't rebound equalsfour bars of 414.For example,four double
the way that sticks do). This will require a firm grip ratamacues(4 bars of 3l4i.rounding offwith one
and the use of wrist strokes. triple ratamacue(one bar of 414)equalsone four
Once you have done this review, you will be bar phrasein 4i4. Use the CD recording and your
ready to begin memorizing the ritual. Memorizing qarsbutlding phraseby phrase,and with a little time

ffiffi is the key word here. If you try to learn the ritual by and effort the ritual will be yours for life.

B.D.& H.H.
Single Drag

LLR L RRL R LLR L RRLRTLR LRRL R LLR L RRL R LLR LRRL RLLR
DoubleDrag ,
lg 3-

t3 LLR LLR RRL RRL

SingleRatamacue

17 LLR L R L RRL
DoubleRatamacue
?

21 LLpLLqLRLRRL RRL R L R Llp t -t -Xt X LRRLNNLRLR LLR LLq LLI L R L

3-3 >3> 3>

25 RRlRRlRLRLLR lLRLRLRRLnn L RL RL L RL L RL RL RR1 RR; _n n L R L R

Triple
le Ratamacue 3 :>, 3>

IJ
LLR LLR LLR L R L RRL RRL RRL R L R
TheDrummer's CompleteVocabulary

a r-3-r
L>

R L L RL RRL RRLRLLRLLRL RRL RRL RL L RL L R L RRL RRL RLL

.- ?----.-
>v I

37 R LLR L R L RRL

Drag Paradiddle No. 2

:>

LLR LLR RRL RRL

Lesson25

45 RLLR L RL L R L LRRL R LRRL R

FIam 3-r 3-r

FlamTap
>

>3 >3 >3 >3

RL R L R L RL R LRL RLR L RL RLR LRL RLR LRL RLR LR L

t2
 The Rudiments

RL R L R RL RL R RLRL RLRL R RLRR LRLL

> :> > > >: >

73 LRLR L LR LR L LRLR RLRL R RLRR LRLL

FIam Paradiildle
> >

77RLR

Flamadidillediddle
> >3 >3 >34

RL R R L L LR LLRR RLRR LL LRLLRR RLRRLL LRLLR R

RL

Five-stroke Roll
:>

lI_-LR
L L R R L LR LR RL L
RRL R L L R RL RL LR R
Seven-strokeRoll
> > : >: >>

9 3R L R L R LR L R LR L R LR L
L RL R L RL R L RL R L RL R
Five-stroke Roll
Nine-strolrc Roll ;= :>:>> > :>
TheDrummer'sComPleteVocabulary

Six-stroke Roll
Ten-strokeRoll> > >>

R RLR RLR RL R RLR RL

Six-stroke Roll
Tbn-strokeRoll> > >> : >>>: >>>

L LRL LR L LRL LR

Seven-strokeRolI
Eleven-strokeRoIl > >:>>

R LR L RLR L

Seven-strokeRoll
Eleven-strokeRoll :> > :>

Thirteen-stroke RoII ;.

Roll
Fifteen-stroke

121 R
L
Paradiddle
:>

LR L

3> 3 >3 3>

R LRR L R L LRLRR LRL LRLRRLRL L

t1
 The Rudiments

13 3 RL R R L

Double Paradiddle
>:> :> :> >: >
?? 33

RLRLRRLR LRLLRLRL RRLRLRLL RLRLRRLRLRLL

>3> 3 >3 > 3 LongRoIl

141 RL R L R R L R L RL L RRLLRRLL

14 9 RR L L R R L L R R L L RRLLRRLLRRLLRRLL

Single-stroke Roll

RL R L R L R L R L R L RLRLRLRLRLRLRLRL

LL R R LL RLR RLR RLR LRL R R

>
TheD r ummer'sComPlete VocabularY

Army TriPlets
Swiss 1=3 >3 >3
> : >> >3

RR L RRL RR L R R L RRL L RL RRL RRL RRL RRL RRL R R L

>3

RRL RRL RRL R LLR LLR LL R LLR LLR L

1 =3 >3 >3 >3

188 LR LL R L LR LLR LLR LLR LLR LLR L LR L L R L

Dragadiddle
Berger25 >>

tsl R RRL LL RRL R R LLR L L

Flam Roll (Fiv e-str oke)

l s t &2nd x R R RR R RR RR RR RR R
3 r d&4th x L L LL LLLLL LLLLL
(Nine-stroke) Flam Roll (Fiv e-str oke)
>
I
.- a( a( ) - ,-
- -. -

203 R R R R R

(Nine-stroke) Flam Roll (Fiv e-str oke)

> >>

211 RR L R LLRL RL RRLR LL

,5
 The Rudiments

RRLRLR LL RLRL R R LR LR LLRLRL RRLRLR LLRLR L

:>3

Z2 3 RRL R L R
Thr ee-str oke Ruff Parailiddle

,. 227 L LRL RRL LRRLR L LRRLLRL RR L L RRL RL L RR L L R L RL L R L R

t-3-_--
-3--------- 2
- aa --
- - - - - a

z3tLRLXLRR R
ReverseFlam Accent No. 1
>:> 3> 3> 3> 3>

235 RL RLR LRL RLR LRL RL R LRL RLR RL RLR LRL RLR

3333
No.2

R LRL RLR L RL RLR LRL RLR LRL RL R LRL RLR LRL RL

33 33 3 ?? ?
> :>> :> : >> >

247 R LRL RLR LRL RL R LRL RLR LRL R

TheDrummer's CompleteVocabulary

251 LLR L R RRL

Double Ratamaflam
?

ZSS LLq LLR L R L RRL nnlRL RLLRT-t-RLR L RR1 n n g q I R LLX LLl t-LX ; X L
RRl RR1 RRL R L
RR1 RRg X 1 R RRR LLRLR LRRLT-t-LRL R LLI LLRL R L R
Triple Ratamaflam 3> 3>
2
LLR RRL RRL RRL
259 LLR LLR L
DragFlam

263 LLR L RRL RLLR L RRL R LLR L RRL R LLR L RRL R LLR LRRL RLLR
LLI LRLLR LpLLlLp LLR RLLR RLLR R LLR R LLR R LLR RLLR RLLR
RR1 RL RRL L RRL L RRL L RRL L RRL L RRL L RRL L RRL LRRL LRRL
FIam Double Parsdiddle
>:> :> > 3 :>3 3> 3

t 6/ RL RLRRL LRLLR RL RRLR LRLL RL RLRRLR LRL L

>

275 RLR R L L R L R R L L RRLLRLRRLLRL

LRL L R R L R L L R R LLRRLRLLRRLR

>> >> >>

2 8 3 R L L R RLRL L RRL RRLRLLRRLRLL

L R R LL RL RRL L R LLRLRRLLRLRR

t8
 The Rudiments

Paradiddlediildle
>3

RLRRLLRLRRLL RLRRLLRLRR
LRLLRRLRLLRR LRLLRRL R L L

2
RL RR L L R L RR L L RL RR L R L L RR L RL L RRL R L L

Four-stroke Roll
3>> 3 >> 3>> 3 >> 3>> 3>> 3 >> 3>> 3> >

RRLL LLRR RRLL LLRR RRLL LLRR RRLL LLRRRRLL

RRLL R R LL RRLL RRLL RRLL RRLL RRLL RRLL RRL L
LLRR LLRR LLRR LLRR LLRR LLRR LLRR LLRR LLRR
RRLR LLRL RRLR LLRL RRLR LLRL RRLR LLRL RRL R

Tripletdiddle
3
5xs
:

i
303 RLRLLRLRLL
i
LRLRRLRLRR
I R R L R R L L RL L
i
I
>>
R R L R L R R LR L
>>

t >>
L L R L R L L R LR
>>

Triplet Paradidille
3>> 3>> 3>>

307 RRL RL RRL LR L R L L R R L RL RRLRLRLRR LLRLRLRLL

TripletFlamadiddle
3> > 3> :> 3> 3> :> > 3 3> >

311 RLR LRLLRL R LRLLRLR LR LRL RLRLRRL LRL RLR LR R

LRL R L R RL R L RLRRLRL RL RLR LRLRLLR RLR LRLRLL
71reDrwrutter's Contplete \bcab ulary'

DragTriplet
3--
>

31s RRL R L L R L R R L R L L R L R R L R LL RLRRLRLLRL RRLRRLLRLL

Triplet Flamadi ddl eiliddle

>:>> >> > > > :> > >

R RLRR LL LRLL RR RL RR L L LRLL RRRR RLR R

L L LRLL RR RLRR LL LR LL R R RLRR LLLL LRLL
Variation
:> :> >:>> >>>- >> > > > > > -> > >>> > >

RRR R R L RR LLLL LRL L RRRRRRRR RRRR RLR R

LLLL LRLL RRRR RLR R L L LLLLLL L L L L LRLL

Ruff
Three-stroke

331 RLR LRL RLR LRL

Four-stroke Ru[f ,-3----t-3- ,__3__ _3-

LRLR RLRL LRLp RLRL LRLR R LR ;_ LRLR RLRg LRLI RLRl

Five-stroke Roll ;- > > >

339 RL R L R LRLRL R L RLR LRLRL RLRL R LRLRL RLRLR

L RL R L R L RL R L R LRL RLRLR LRLR L RLRLR LRLRL
Six-stroke Roll
>> :>

R L R L R L R L R L
L R L R L R L R L R

20
 The Rudiments

3 4 7 R L RLR L RL R L R L R LRLRL R LRLRL

L R LR L R LRLRL R L RLRLR L RLRLR

Seven-strokeRoIl
>

35 5 RLR L R L R L R L RL RLRLRLRLRLRLRL
LRL R L R L RL R LR

Eight-stroke Roll FlamDada

> > 5---r > >r-6-----=- >>

L R R L L R RL R LLRRLL

DadaFlam Flamflamilidille
>>: >

ParaFlamFlam

Flamaflamadiddle
>> >:>

RL RLRR LRLL RL RL RR LR LRLL R LRR L R LL

TheD r ummer'sComplete Vocabulary

FlamaFIamaFlamFIam
:> > >>> >>> >>>

3 87 RL RL R R LR LR L L RL RL R R LR LR L L RL R RLR L L

RL R RL L LR L LRR R L R R LL LR L LRR R LRR L RLL

Fl amaFIamFlamFlamFIam
> >:>> >> >>>>> >> >>>>>>>>

RL R R L L L R L L R R RL R R L L LR L L R R R R L L R R L L

Mamadada

LqLqLlRlRlRlt-XLp LX R;_ R1R1LX LX LX Rl

R1n; Lq t-X LX R1R1R1 LX LX Rg RI LX LX R1R1

22
 The Rudiments

R1R1 R
> >

Lp Lx L
>

Rg R1 LR Ll

As leader at Curry College,with fohn Lockwood, 1989.

23
 N'
.#s!

Fuu' :::,::
,:1
 As mentioned in the introduction to this book,
Alan had more than forty ways of interpreting the
eight pagesofsyncopated exercisesin Ted Reed's
1. Snare Drum Plays the Line
book Syncopation(pages37*44*). In this chapter
you will find a partial selectionof those forty ways.
Snare(left hand) plays the syncopatedline.
Also included here are three ofthose pagesfor your
Right hand plays jazztime.
use with theseexercises. 33
The first three ways are a prerequisite for learn- | | l'-l
xxyxxx,l x
ing the rest. Thesethree are basic four-way coordi-
Bassdrum "feathers"
-] (plays lightly) quarter notes.
nation (or independence)studiesand will servethe
Hi-hat plays beats2 & 4.
purpose of famtliarizing you with the reading
aspectof that component of Alan's teaching.
tllfl, Example:
Consequently,you will not only be practicing coor-
dination, but also reading. Alan would stressthe written
importance of practicing all of the eight pagespar-
ticularly becausethere are no consecutive8th-notes
(four or more 8th-notesin a row) on Page37.You
never knew which pagehe was going to ask you to
play, so ifyou hadn't practiced them all he could
tell. It may be necessaryto use pages33-36 as played
preparation for pages37-44. Ifyou can't play
33-36 without stopping, it is unlikely that you will
be able to play exercises1-8 (pages37-44).
I cannot emphasizeenough how important it is
that you do not stop or go back if you make a mis-
take while playrng the exercises.This was one of the
things that Alan was adamant about. Tryto make a 2. BassDrum Plays the Line
mental note of where the mistakesoccurred, and go
back after you've completed the page,isolatethe Bassdrum plays the line.
measureor measures,and play them repeatedly.At Right hand plays time.
first, play just the measurealone and then as a Left hand plays a rim click on beats2 & 4.
repeatedt!vo- or four-bar phrase.This approach is Hi-hat plays beats2 & 4.
essentialfor establishinggood reading habits.
Practicethesethe sameway asthe rudiments:
spend at leastone week on eachway before moving Exampte:
on to the next.
@
written

*During the writing of this booh a newer version of

Syncopationwasreleasedin which a pagehas been
added.Exercises1-8 now appearon pages3845.

(Facing p age) Northeastern University.

Iohn Coltrane Memorial Concert, with
Billy Pierceand Tim Engles,1992.
The Drummer's Complete Vocabulary

3.ShortandLong*
ffi
Shortnotes(.D) = snaredrum
Longnotes(J )-) J. )=bassdrum
Righthand= time
Hi-hat=beats2&4

Example:

written

consecutiveeighths

played
u>

-u

*This concept of short and long notes is an important one not only because
music is a combination of short and long tones,but also becauseit is the con-
cept on which many of the following, more advancedfour-way coordination
studiesare based.
Pleasenote that some of the following exercisesare not written with specific
drumset voicings or orchestration. It is up to the reader to follow the directions
preceding eachexerciseto understand the interpretation. They are presented
here the way Alan presentedthem to his students.The key word here is
"interpretation."
 Four-Way Coordination

This is the first of severalexercisesthat use the idea of filling in triplets. In this
example the short notes are played by the right hand on the small tom tom.
The long notes are played on the cymbal (by the right hand) and the bassdrum
in unison. The left hand fills in triplets on the snaredrum. The hi-hat plays on
beats"2" and"4."
Note: a quarter-note rest will equal three notes with the left hand; a quarter-
note plus an eighth-note rest will equal five notes with the left hand.
consecutiveeighths

3 3 J ) J 4 3 J

RLR LL RRL LRLL RL RRL RRL RLLR

With this exercise,the sticking remains constant: R L R L R L.

Short notes = accentedS.D.
Long notes = c)tmbal and B.D. in unison.
Hi-hat playsbeats"2" and"4."
The key to making this sound good lies in keeping the unaccentednotes
on the snaredrum down low to the drum head, so that the short accents
stand out.
Practicetip: You may want to play all the notes accentedon the snareto
get comfortable with where they fall (i.e., which hand), then follow the short
and long assignments.

consecutiveeighths

> 3 :> :> > ? >j J >>j :> > 3 > J

R L RL R L R L RLRL R L RLR LRL RL R L

TheDrummer's ComPleteVocabularY

This is similar to the alternating triplets-the sound sourcesare the same:

Short notes = accentedsnaredrum.
Long notes : cymbal and B.D.
Hi-hat = "2" arrd"4."
Filling in with triplet roll*

3> J > 3> 3> j > 3>

.> >
R LLR LLR RLR L L R R L R R LL R LLRRLRRLLRLLRLLRRL

consecutiveeighths

+ A triplet roll is made up of l6th-note triplets played with dou-

ble strokes. What actually takes place is a five-stroke roll with

the accent on the beat (for notes on the beat) and a five-stroke
> > >
roll with the accent offthe beat (for notes offthe beat).
RL LR L R RL

This way is a review of the previous three ways-play the Pagesfrom syncopa-
tion, switching randomly between eachof the last three triplet ways (left hand
filling, alternating triplets and triplet roll). At first you may want to practice a
little more systematically,e.g.,one line eachway. As you become more com-
fortable, switch at will.

In this example the bassdrum plays the line while the left hand fills in triplets
on the snare drum. The right hand plays the iazz ride pattern on the cymbal
and the hi-hat playsb eats"2" and" ." Be sure to get a good blend among all
the voicesof the drumset'
consecutive eighths

LL LL

2E
 Four-Way Coordination

In this examplethe hi-hat (left foot) plays the line and the left hand fills in
triplets on the snaredrum. The right hand plays the jazz ride pattern on the
cymbal. Leaveout the bassdrum. Be sure to get a good blend betweenthe hi-
hat and the snaredrum; keep the snaredrum strokeslow, and the notes soft.

J) 333
L LL LL LL L

In this example,the hi-hat plays the short notes (eighths) and the bassdrum
plays the long notes (quarters,tied eighths,and dotted quarters). The left hand
fills in triplets on the snaredrum and the right hand playsthejazzridepattern.
This example is truly a four-way coordination challenge;be sure to get a good
blend of all the parts. You should be able to hear the rhlthmic line clearly.

This exercisewill be challenging:the snaredrum plays the line, the right hand
plays time, the hi-hat plays beatstwo and four, and the bassdrum fills in
triplets (the way the left hand doeswith Exercise1). I suggestusing heel-down
technique in order to allow the beater to rebound.
consecutiveeighths

29
TheDrummer'sCompleteVocabulary

The snaredrum plays the line. The right hand plays time; the hi-hat and bass
drum fill in triplets. .,
Examples

For notes on the beat:

J

Consecutiveeighths:

For this figure:

For this exercise,Alan would have you put away the syncopation book-
he would then sing you a two-measure phrase,repeatedonce (a four-measure
phrase).For example:

Dit Dah Dit Dah Dah Dah Dit Dah Dit Dah
You would sing back the two-bar phrase (repeatedonce) and play eachof the
eight triplet ways in the following order:
1. Tom short, cFmbal and bassdrum long; left hand fills in triplets on
snaredrum
2. Alternatingtriplets
3. Triplet roll
4. Bassdrum plays the line; left hand fills triplets
5. Hi-hat plays the line; left hand fil1striplets
6. Hi-hat short; bassdrum long; left hand fills triplets
7. Left hand/snaredrum = line; bassdrum fills triplets
8. Left hand/snaredrum = line; hi-hat and bassdrum fiIl triplets

30
 Four-WayCoordination

Eight Tiiplet Ways(continued)

To practice this, you may want to begin by picking a two-bar phrasefrom syn-
copation. Memorize and sing the rhythm yourself and play it the eight ways.
Another way to practice this is using pages38 and 39 or 40 and 41, playing one
line eachway. After playlng eachpagetwice in order, you'Il come out evenwith
the eighth way on the last line of the secondpage from Syncopation.(Refer to
Track I on CD 2.)

r- 3----
-3-----------t

Play eachpartial with the left hand/snaredrum with right hand playing time on

ffiffi the cymbal. Play eachpagein Syncopation.

1. Bassdrum = the line: hi-hat beats2 & 4

ffiffi 2. Hi-hat: the line

3. Hi-hat short, bassdrum long

Play as above:right hand = time on the cymbal, partials with the left hand on
snare drum.
1. Bassdrum = the line
2. Hi-hat = the line
3. Hi-hat short,bassdrum long

After playing all the precedingpartials inf, time,Alan would have you play the
eighth-note triplet partials in various odd times. After you masteredthe par-
tials, you would play a blues in eachtime signature during which you would
trade choruseswith Alan playing vibes.The lessonplan would be something
like this:

ffi 1. Lesson 1: partials and blues in 3

4

ffi 2. Lesson 2: partials and blues in 3

4
(2+3or3+2)

ffi 3. Lesson 3: partials and blues in 7 (3+4or4+3)

4

ffi 4. Lesson 4: partials and blues in

4
(2 + 2 + 2 + 3,3 + 3 + 3,etc.)

3'
TheDrummer'sCompleteVocabulary

ThefollowingareAlan'stn, t0, 74, una] ut,r.rt

f,u,",
2
a
-a

Eb7 Bb7
1
-.

F7 Eb7 Bb7 (n)

J
4 blues
@
 Four-Way Coordination

7
4 blues

ffi

u^
bl ues
I

ffi

33
The Dr untnter's Co mplete \rocabul ary

3--------- r-- 3------------t

--
Left hand/snare drum

Right hand x
I ttl
ttl
XvXX
I

x7 x
tt

Play eachpartial left hand/snaredrum with right hand time on the cymbal:
1. Bassdrum = the line
2. Hi-hat: the line
3. Hi-hatshort ()),bassdrumlong ( J. L) .j )

With this exercise,the right hand plays short notes with the tip of the stick on
the qnnbal and long notes with the shankof the stick on the bell.
The left hand plays a pattern similar to a congatumbao.

I believeAlan played this with a bossanova foot pattern:

A more traditional pattern would be:

 Four-\\ ar- Coordiaatic'n

The right hand in this exerciseis the sameasthe previous one:

Short = tip of stick on the cyrnbal
Long = shank of stick on the bell
The left hand fills in eighth notes on the snaredrum

Note: Alan would play random accentson the snaredrum with the left hand.

This way of playing a sambacreatesa nice effect using open and muffled tones.
The right hand plays the line with a stick on the snaredrum with snaresoff.
(Alan used a stick with a rubber cap from a tom-tom leg on it.) The left hand
fills in eighthswith a brush on the snaredrum (pressthe brush onto the head
using the entire fan).

The bassdrum and right hand play the line in unison with the right hand play-
ing short noteson a closedhi-hat and the long noteson an open hi-hat, creat-
ing an open/shutsound.
The left hand fills in:
1. eighth note
2. eighth-note triplets

Symphony Hall
with Dave Brubeck,
|erry Mulligan (pictured)
and Paul Desmond,r97z.
TheDrummer's Complete1'ocalsulnry

This one was devisedby one of Alan's students.

(Quarters off the beat)

.-
t- 1
Bassdrum = the line ./tl =a,tl l
/a raa

Righthand=
closedhi-hat

Left handfills sixteenth notes on snaredrum

s.d.
b.d.

This way is a great exercisefor the right foot, especiallyon pageswith consecu-
tive eighth notes (pp. 3844). Be sure to be awareof the cut-time signature.

Bassdrum = the line

closed hi-hat
Right hand =

Left hand = snaredrum (backbeat)

2. Variation
Short notes = snaredrum
Long notes = bassdrum

closedhi-hat
Right hand =
 Four-Way Coordination

This exerciseusesa combination of single and double paradiddlesand is great

for your chops becauseyou're playlng sixteenth notes with brushesplayed on
the snaredrum.

:>>:>-:> >>>>
R L R L R R L R L RLLRLRR LRLLRLRRLLRLRRLR
L R L R L L R L R L RRLRLL RLRRLRLLRRLRLLRL

RRLRLLRLRRLRLLRL

The term "ruff'here is not used in the rudimental sensebut refersto a group of
three notes with R R L or R L L sticking. Alan also calledthese"side triplets."
Play brusheson the snaredrum.

>3 :> 3 >>3 >3 >j >3 3>3>

R LRR L RLLRLL RLLRLLR RLRRL

consecutiveeighths

:> 3> :> 3>

RLRL
TheDrummer'sCompleteVocabulary

This usesthe samesticking asthe previous example but is orchestrated as follows:

Short notes = accentedsnaredrum
Long notes = cymbal and bassdrum (in unison)
Hi-hat beats"2" and "4"

>3 J

r
AJ ) J
-
F l- lr r r r r r - - - - -
tttvttvtl J I tJ | | | t>+
-T-]
R R

Using the pagbsfrom Syncopation(3744) play:

Short notes = stick on stick
Long notes =buzz on snaredrum with unison hands
Bassdrum = quarter-note feathering
Hi-hat = beats'2" and"4"

(consecutiveeighths)

RR RR R R RR R
L L L L

38
 Four-Wav Coordination

R.H.= ,f ,l (tirne)
"r; "r;
Short notes = hi-hat with foot
Long notes = half open hi-hat with stick (left hand)
Page37 of.Syncopation only

H.H. w/stick

H.H" w/foot

"OIeo" with aboveexerase

BbnerT G7 CntT F7

For the figure:

(consecutiveeighths)

> 1 > 1 )2 1
t-] fi J-l
Play:
-]
L
Listen to the CD for Alan's version.

39
TheDrummer's CompleteVocabulary

Play"Oleo" usingthe Roy HaynesSpecialand also with hi-hat short notes (foot) long notes (stick)

SonnVKo///ns
Playtime
CN:T F7 Bb F7

C7 F7
rO

,-. .a

,\|

EbnnrT Ebmu6

[""Y;i]"'""
^,""11".:J:*:T",i::".(ff
After you learned all of thesefour-way coordination exercises,Alan would con-
tinue in the following way:

The possibilities are endless.

The rudiments can be voiced any way, e.g.:

1. Bothhandsononedrum
2. Separatehands on different sound sources
3. Play rudiments with feet

Syncopation can be played any ofthe ways using short and long diqcussedin
the book or any other way; use your imagination!
10
 Four-Wav Coordination

@ assignedMCMXCVItoAlfredPublishingCo., Inc.
Used with Permissionfrom the Publisher
TheDrummer's CompleteVocabulary

@ assignedMCMXCVIto Alfred PublishingCo., Inc.

Used with Permissionfrom the Publisher

12
 Four-\Vay Coordination

@assigned MCMXCVIto Alfred PublishingCo., Inc

Used with Permissionfrom the Publisher

43
When I was studying the rudiments with Alan, he as everyweek. However, once you get into the
describedthe single-strokeroll asbeing the most faster tempos (90s-100s),you will find yourself
difficult of the American rudiments. Here are sever- staying at one tempo for longer periods. While
al ofAlan's exercisesfor developingthe single- studying with Alan during the'70s, I had reacheda
stroke roll. certain speedand stayedthere for sometime. I said
For this exerciseyou will need GeorgeL. Stone's to Alan, "I'm frustrated I've been on the same
book SrlckControl. (GeorgeL. Stone & Son, Inc.) tempo for three months." Alan said, "So what, I've
Using the first column on page5 (numbers been on the sametempo for three years."
1-12), setyour metronometo J = 60 - 80 to start. Note: Pages5-7 areused for rotating between
The first part of the exerciseis as follows: thesesix columns using a diflerent tempo for each
one. For example,once you reach page7, cobtmn2
at say, J = 104,you would go back to page5, col-
umnl atJ = 108.
1. Playtwobars of the exercise(1-12) followedby Here is an example of a possiblesequencefor
four rights and four lefts two times (eighth this exercise:
notes). Play exercises1-12 this way without stop- Week 1: page5, column I at J = 72
ping. Go back to the top (without stopping) and Week 2: page 5, column 2 at ) = 76
2. Play eachfivo bars of the exercisefollowed by Week 3: page6, column 1 at J = 80
eight rights and eight lefts one time. Play exer- Week 4: page6, column 2 at ) = S4
cises1-12 without stopping.Go back to the top Week 5: page7,column 1 at J = 88
without stopping and Week 6: page7, column 2 at J = 92, etc.
3. Play eachtwo bars of the exercisefollowed by 16 * Seetraditional metronome markings for more.
rights and 16 lefts one time.
This is actually a warm-up for the next part.

When it seemedlike you couldn't go any further

with the previous exercise,Alan would haveyou
Play eachtlvo measuresof the exercisefollowed by play60 counts (half-note counts) ofa single-stroke
a single-strokeroll (16th notes) for five counts roll (16th notes) starting with the right hand lead-
(half-note counts) plus one rest. The roll startswith ing and then with the left hand leading. You would
the opposite hand of the one that endsthe sticking. again usethe sameincreasesin tempo that you
For example:with RLRL, the roll starts with the used in the previous exercise.Only when you had
right; with LRLR, the roll starts with the left. Play achievedone speedwith a degreeof comfort and
1-12 this way without stopping. relaxation would he allow you to move up to the
The way to determine an appropriate starting next. Ofcourse, evennessoftone and keeping up
tempo for this exerciseis to observehow the left with the tempo were the first requirements.
hand feels(for right-handed people) while playing The starting tempo for the 60 counts will be
the 16 lefts. Ifyou are just barely able to get out all slower than where you left offwith the previous
16 lefts, then you are probably at or slightly above exercise.A possiblescenariowould be as follows:
the tempo where you should be working. Weeks I_2:60 countsat J = 80
The idea of this exerciseis that when you make Weeks 34: 60 counts at J = 84
one tempo with a minimum of discomfort, then Weeks5-7:60 countsat J = 88
you move up to the next column at the next tempo. Weeks7-?:60 countsat ) = 92. etc.
At the slower tempos, this can happen as frequently Try 120 counts or 200 counts.
TheDrummer'sCompleteVocabulary

This is another exercisefor developing the single-strokeroll. The idea is to get

the samefeel on the single strokesthat you get with the double strokes.It is
important to articulate the double strokesand keep all the strokesdown low.
Startout with 10 counts,then increaseto 2Q,30,and higher.Use the
metronome, increasingtempo when comfortable.

LL RRLLRRLLRRLL
6 78 t0
ttl
ddd )

LRLRLRI
78 t0
I

)) o
I

At the Hasty Pudding

Club, Cambridge, MA,
with Kenny Burrell, 1982.

45
 Single-StrokeRoll Exercises

This is an exercisefor developing evennessof tone and rhythm while using

variousstickings.

Play15 more

R R L L R R L L
L L R R L L R R

flay 15 more

R L R R L R L L
L R L L R L R R

Play15 more

R L R L R L R L
L R L R L R L R

Each 16 bars should be played while singing a tune. Use the metronome, and
increasethe tempo only when the previous tempo is played with good sound,
and a level of comfort and relaxation is achieved.
This exercisecomes from Ron Savage,one of Alan's students,who is cur-
rently the assistantchair ofpercussion at Berklee.

47
 Alan was always mindfirl of trying to balance his lessonsand studies equally
betweentechnique and musical ideas.one of the ways in which he did that was
by teaching you to solo over various standard song forms while you sangthe
melody to those songsaloud. The following exerciseis another example of what
I call Alan's genius for creating extremely challengingstudiesthat are designed
to get results,while reinforcing solid musical fundamentals,that are invaluable
in the everyday life of a musician/drummer.
This exercisewill accomplish severalthings: you will develophand and foot
coordination, increaseor developyour ability to feel four- and eight-bar musi-
cal phrases,teach you about song form, and' most important, it will give you
the ability to solo over the form of a tune without having to count. This in itself
will make your solosmore musical and melodic.

For this exercise,you will need a copy of GeorgeL. stone's stick control.For
this first song form, you will usepage 5, the first column (numbers 1-12).
To interpret the sticking for the drumset, play all right strokes with alternat-
ing hands on the snaredrum and play all the left strokeson the bassdrum'
For example,RLRLwould be:

Play as jazz eighth notes

RLR
Playthe hi-hat on beats2 and 4

LRLRwouldbe:

This idea of alternating hands is not a hard and fast rule. For example,with
number 5 (a paradiddle), it is only important that you altemate where you have
two rights in a row; RLRR LRLL could be played:

R R

Continue plalang examples1-12 this way.

It
 Soloing

It is extremely important that you are comfortable with this part of the exer-
cisebefore you continue. Once you are comfortable with this, while singing the
tune aloud, play four bars of time plus four bars of the exercise(the written two
bars repeated),using the aboveinterpretation. This will equal eight bars, which
will be the first A section of the tune. Continue through numbers 1-12 this way,
for atotal ofthree choruses.Exercises1 through 4 equalsone 32-barAABA
chorus (first chorus); 5-8 equalsthe secondchorus; 9-12 equalsthe third. For
the fourth chorus, play a chorus (32 bars) of solo. Rememberto sing the
melody aloud through the entire four choruses.Of course,you may want to
play more than one chorus of solo once you are more comfortable.
In teaching at Berklee,I give my students a handout that outlines the
exercisein simpler terms; it looks something like this:

4 bars of time + 4 bars of the exercise(* t; = I

bars,or the first A
4 bars of time + 4 bars of the exercise(*Z) = 8
bars,or the secondA
4 bars of time + 4 bars of the exercise(#3) = I
bars,or the bridge,B
4 bars of time + 4 bars of the exercise(*+) = 8
bars,or the lastA
Tf b"rc or I chorus

Exercisesl-12 equalsthree choruses.For the fourth chorus,play32

barsof solo.Singthe tune aloud.

SomeexamplesofAABA tunes are "Take the A Train," "Satin Doll,"

"Misty," "Softly, As in a Morning Sunrise," "I Got Rh1thm," and "Well, You
Needn't." Chooseone.
When you have masteredthis (usually after one or two weeksof daily prac-
tice), continuein StickControltn the following way:
Page5, column 2 with an ABAC tune-"On Green Dolphin Street,"
"Four," "My Romancer" "SweetGeorgia Brown."
Page6, column I with an ABAB tune-"Summertime,"
"Blue Bossa"(Swing),"Tune Up."
Page6, column 2 with a L2-bar tune-any blues, "Blue Monk,"
"Nows the Time," "Solar."
Page7, column 1 with a 48 bar tune-"I'll RememberApri1,"
"Night and Day."
Page7, column 2 through the end of the book-pick any tune.

Here are some ofAlan's solo ideas.This first group of ideasare figures that
imply a feeling of !. ehn referred to them as "three-eight figures." This f idea is
one that can be found throughout the Rudimental Ritual (e.g.,the SingleDrag).
The basic idea is this:
This type of phrasewill resolvenaturally on beat "1" after three bars.
Try starting in the secondbar.

Often, Alan would imply this ! idea with the use of accentsasyou can see
from this first example.
TheDrummer'sCompleteVocabulary

The next few ideassound best at fastertempos.

Startingon the beat

L RLR L RLR L RL R L RLR

Starting offthe beat

RLR L RLR L RL R L RLR

Frequently,Alan would even it out, to play a two-measurephraselike thrs:

L RLR L RLR L RL R L RLR L RLR

Variation with bassdrum

L RLR L RLR

5A
 Soloing

Here are some other variations using toms.

Here's an example of how Alan would apply rudiments to the drumset. This is another f idea.
The rudiment is an open single drag.

Try rounding this offwith the dragadiddle.Also, try this voicing with the drag triplet phrase
from bars 39I*322 of the Rudimental Ritual.
 l
The Drummer's Complete Vocabulary I
I

Alan once told me that he would play rudiments that had a three-stroke ruff in them by playing t
the two gracenotes on the bassdrum. Here's an example:Try this idea with all rudiments that con-
tain three-stroke ruffs. Practicethem slow to fast, gradually.

Singledrag

Another i variation

Add bassdrum

Five strokes

Paradiddlediddle/paradiddlecombinations
>>

E
 Soloing

RLRRLLRLRRLLRLRR LLRLRRLLRLRRLRLL

Alan often played this variation of a seven-strokeroll.

R R LLR

Here'sa phrasehe playedduring one of my lessons.

>3 >3
As 3> r_ 3_--_t >

RRLLRLRLRL R L RR

R R LR L

R R LRL

Alan played this idea often, like a four-stroke roll with doubles on the bassdrum.

LRLRLRL
The Drummer's ComDleteVocabulary

Alan once showed me this eight-bar phrase during a lesson,using the previous idea.

RLRLRLRLRL

>3 >j>
>3>

RLRLRLRLRLRL

RL R L

AIan had a lot of crossoverideas;here are a few of them. This first one uses
paradiddle and double paradiddles.

* = Left crosses over right

+:>

RL R R L R L R LL R L R L R R LRLLRLRLRRLRLRLL

* = Left crossesover right

+ + + +

-
R R

51
 Soloing

+ = Right crossesover left

RLRLRLRLRLRL

Here is a solo frrll of classicAlan Dawson ideas.Play this as fast asyou can while still grooving.
>3 >3 >3 >3

RLRLRL RL RL

R LR R

>3 >3 33 >3

>3 A >34

RL R L R L R RLRLR

>3 A >3 A

RLRLRLR
The Drummer's Complete Vocabulary

Alan had a lot of different ideasusing the bassdrum, hi-hat, and snaredrum. He was always
experimenting with new ideasusing four-way coordination. Here are some of those ideas.

56
 Soloing

More bassdrum, snare,and hi-hat ideas:

3 > 3> 3 > 3>

3 > >3 A

R RLRLR

zA Ac >3 o3+
" t- "
J-1

LRL R RR R
.--
>3 o3+ o3+

57
TheDrummer's CompleteVocabulary

More hi-hat,bassdrum, andsnaredrum ideas:

o = Open hi-hatplayedwith hand

Thesetwo examplesare from a rare recording: The Sonny RollinsTrio: Live in Europe 1965.
The tune is "Night and Day." Play them with the jazz ride cymbal pattern.
 Soloing

Thesenext five 8-bar soloswere taken from a tape of Alan's 1987performance in Boston. He traded
eightswith tenor sax great Bill Pierceand a rhythm section consisting of Donald Brown on piano
and |ohn Neveson bass.The tempo is a bright ) = 290.

LR RLR LRLR
AJ

:>

L R R L R R LRL R L L RRLRRLRLL RRLR L R L

RLRL L RLR L RRLR

RLRRL

59
TheDrummer's CompleteVocabulary

+ = Left crossesover right

>3 A

R LRL RL R L RRL

:>

L RLRLRL LRLRLRL

R L RRLRL R RLRR

A = rim shot
J

RL R L R L R L R L R L R

AA AA A

RLRLRL RRL R L RLR LRRLR

s.o.s.

RLR RLRL LRRLR

fi
 Soioing

A
s.o.s.

L RL RL

RRLLR LRRLRRL

A3A NA

At Boston Coilegewith
Milt Hinton,
March 23,t99r.
TheD r ummer'sComplete Vocabulary

From Arnett Cobband the Muse All-Stars,

Liveat Sandy's(Muse Records,MR 5236)

Hi-hat

++og

---
A
2ndChorus o o o oo >g

s A6

R.S.

3rd Chorus -JazzFeel

A - :a 3> 3> > A

RLRLRL RLRLRLR L

>> > As- 3:>

52
 Soloing

3> 3> 3 >> 3 AsA 3>

LR (L)

AsA s >A r- 3____

4th Chorus 3>-t- 3>>3

L L L RL

At A 3> As A s >43 3A 3A Ae >3 A

R RL LLR R RL RRL

>3 A 3 i >34 3 >3 A 3 >3 A

5th Chorus
3 >3

RL RRLR RL RR LR
> 3 >> > > > 3 >A

RRLLR L RR LR
A3
A 3 > 33 s A s

RLRL RLRL RLRLRLRLRLR L

TheDrummer's CompleteVocabulary

L RR RRL L
>> 3------
--

RRL LRRLRL RLRR RL

3 - 13 r 3 )-3 t 3 3 > t 3 > -3 t

-3- -

R RLR

>3 > 3 A-3- t 3 A- 3---- j A r- 3'----= 7 3 3 A,- 3----,

-

3A 3----- j A,- 3------

-

LLRLRLRLRLRL
7th Chorus
Ls >3

RL RLRLRLRLRLRL
3> 3 >>3
1> > > > > 3> > 3> > ---

3 >> 3
3 > >3 >> > > >

u
 Soloing

RLRR LR L L RL R RLLRLRRL
8th Chorus
A AA A A A A AA A

LRLR LRLR LRLR LRLR

AA A A> A

LRLR L R R LLR RRLLR

3 >>3
>

RRLLR L RLRLRLRLRLRL

:> 3

R.S.
RL RL RL
9th Chorus A"
_J Ls
j>
;A 3> 3> 3> 3> 3> 3> 3> j> 3> 3>

R.S.
RLRLRL
Ls Ls

RLRLRL

>A r_ 3__r
1-3--_]

RLR L RL

65
TheDrummer's CompleteVocabulary

The following is an excerpt from the recording The Sonny RollinsTrio: Live in Europe1965
(Magnetic Records,MRCD 11S)with Sonny, AIan, and Niels Henning Pederson(on bass).The tune
is "Night and Day." In this example,you can hear both Alan's soloing and his highly creativetime-
keeping style.The trading is uneven; Alan plays 12 bars of time, four bars of solo, four time, four
solo, 16 time, eight solo, "eights" for the nert32bars, then time. This kind of soloing is probably an
indication of the jam sessionnature of the date and Sonny'sfondnessfor trading with the drums.
I have included the last eight bars of the head (melody/chorus) where Alan doessome interesting
thingswith the hi-hat.

"Night and Day" ColePorter

lst chorus- Tenor solo

JJ

Drum solo (4 bars)

r- 3--t
>3 3>- 3--

&
 Soloing

Solo (4 bars)
-

j> 3 3----- A
3> 3 = -- -

3> 3 3>
The Drumm er'sComPleteVocabularY

Solo (eight bars)

L RLRL R R L

3> 3 >J

RL RLRLRLRRL

Solo (eight bars)

3>

I
 Soloing

Solo (eight bars)

>>

69
.-, -"l*d+tF:
Itres',"I
ilillI1tu
.
ffiil
524.95
in USA