DRUM SET

METHOD

BY MARK WESSELS
WITH VIDEO LESSONS FROM
WAYNE SALZMANN II
INCLUDING FREE video lessons
Available at www.zildjian.com/education
 INTRODUCTION
There are countless books, websites, apps, videos and social channels all devoted to teaching you
how to play drums. With a pretty broad range in quality and depth of lesson content, we want-
ed to take a slightly different approach. Our goal for this Drum Method project isn’t to replace
the thousands of other resources available. It’s to INSPIRE PEOPLE TO EXPRESS THEMSELVES
THROUGH MUSIC by providing trusted, guided lessons, and a motivating experience that helps
get your feet wet with music and percussion. As the global leaders in cymbals, drumsticks, and
mallets, we at the Avedis Zildjian Company are committed to helping create the next generation
of musicians, artists, and/or music lovers.

For every student who fully commits to buying a drum set and signing up for lessons, there are
countless other people who are interested in the drums, but either don’t know where to start or
aren’t sure if they’re ready to jump in head-first. That’s where the Zildjian Drum Set Method comes
in. Start with the first lesson - you don’t need drums or sticks to get started, and it’s totally free.

If your dream is to one day play in a band, or even to become a ‘good enough’ drummer to be
able to play along with your favorite tunes, then we HIGHLY RECOMMEND that you take lessons
from a qualified drum teacher.

For the drum teachers out there, we think you’re going to love having this resource available. In
the planning and production of this series, we wanted to give the student a rock-solid drumming
foundation and well-rounded knowledge, delivered in a fast-paced, user friendly environment. We
hope you’ll consider incorporating it into your current curriculum.

READY TO GET STARTED? We hope you enjoy using this book & video series, joining a grow-
ing community of music-makers with every step, and maybe even joining the Zildjian family in the
future!
 ABOUT US

THE WORLD’S LEADING MAKER OF CYMBALS, DRUMSTICKS, AND MALLETS

The Zildjian Company has been synonymous with setting the standard for the development and manu-
facture of high performance musical instruments since 1623. As the world’s leading maker of cymbals,
drumsticks, and percussion mallets, Zildjian products are sold across the globe, under the Zildjian®, Vic
Firth®, and Balter brands, and are the standard to which all other cymbals, drumsticks and mallets are
TM

measured. From the beginner to the world’s greatest rock stars, jazz performers and concert percus-
sionists, amateurs and pros alike choose Zildjian, Vic Firth, and Balter products to allow them to experi-
ence and share the joy of music.

Headquartered in Norwell, Massachusetts with offices in Newport, ME, Los Angeles, CA, London, UK,
and Singapore, Zildjian products are sold globally through distributors and via a network of dealers. All
Zildjian instruments are made in the USA at our cymbal factory in Norwell, MA and drumstick/mallet
factory in Newport, ME.

WWW.ZILDJIAN.COM
MARK WESSELS
DIRECTOR OF EDUCATION • ZILDJIAN | VIC FIRTH | BALTER MALLETS
® ® TM

Author of the “Zildjian Drum Set Method”

Mark Wessels is an internationally respected author and educator. As

a publisher, his “Fresh Approach” method books are among the most
successful in the world, with over 300,000 copies in print.

From 1983-2000, Mark taught percussion in some of the most successful

public school programs in Texas and launched one of the first internet
sites devoted to percussion education. As a result, he was hired as the
“Director of Internet Activities” in 2000 for the Vic Firth Company and built
one of the most popular online destinations for drummers today. Through
the years at Vic Firth, Mark created the vast library of educational resources, many of which were ground
breaking in its day. From Essential Rudiments, Groove Essentials and other popular posters to video
lessons, play-along tracks, “In the Lot” and “Learn the Music” videos, Mark has been at the forefront of
percussion education for over two decades.

During his tenure at Zildjian, Mark has also been responsible for producing thousands of drum set, march-
ing and concert performance videos from all over the world. Working with other dedicated members of
the Zildjian team, he also produced and directed the popular “Zildjian Underground,”“Zildjian Live” and
“vfJAMS” video series. Outside of his work at Zildjian, Mark continues to publish new projects through his
website at WWW.MWPUBLICATIONS.COM.

WAYNE SALZMANN II
Host of the “Zildjian Drum Set Method” Video Lesson Series

Wayne Salzmann II is a drummer, educator, author, and composer based in

Austin, Texas. He has been the Drum Set Instructor at the University of Texas
at Austin for over a decade and has given clinics and masterclasses world-
wide.

In addition to his extensive touring and recording with Grammy winning

guitar virtuoso Eric Johnson and iconic songwriter Bob Schneider, Salzmann
has also performed and/or recorded with Steve Miller, Kenny Rogers, Kris
Kristofferson, Christopher Cross, Joe Satriani, Mike Stern, Robben Ford, Chris
Potter, Dick Oatts, Bill Watrous, Diane Schuur, Bobby Shew, UT Jazz Faculty,
San Antonio Symphony, and many others. He has hundreds of recording credits, including a Billboard no. 1
Jazz record, a Billboard no. 1 Blues record, and feature film soundtracks.

Wayne’s book “Developing Melodic Language on the Drums” has received high acclaim from legend-
ary drummers Peter Erskine, Ed Soph, Carl Allen, John Riley, and from Modern Drummer Magazine. He
currently serves as a member of the Drum Set Committee for the Percussive Arts Society, and is an artist/
clinician for DW Drums, Pedals, & Hardware, Zildjian Cymbals, Remo Drumheads, and Vic Firth Drumsticks.
Keep up with Wayne at WWW.WAYNESALZMANN.COM.
TABLE OF CONTENTS
INTRODUCTION.................................. 2 – 7 LESSON THIRTEEN.......................... 32 – 33
The Ride Cymbal, Ride Cymbal
LESSON ONE........................................ 8 – 9 Position, French Grip, Ride Cymbal
Your First Drum Beat Grooves, Quarter Note Ride Patterns,
Adding the Hi-Hat ‘Chick’
LESSON TWO................................... 10 – 11
Learn About Drum Sticks LESSON FOURTEEN........................ 34 – 35
Music Reading Exercises,
LESSON THREE................................ 12 – 13 Independence Exercises, The Toms,
Moving Around the Toms
Gripping the Sticks, Adjusting the
Throne and Practice Pad Height
LESSON FIFTEEN............................. 36 – 37
LESSON FOUR.................................. 14 – 15 Grooves Utilizing the Toms,
Hearing Protection, 16th Notes,
The Rebound Stroke, Essential
16th Note Drum Fills
Rudiment: Single Stroke Roll
LESSON SIXTEEN............................. 38 – 39
LESSON FIVE.................................... 16 – 17
Open Hi-Hat Sizzle Sound, Open
Learn about the Snare Stand
Hi-Hat Exercises, Open Hi-Hat
and Snare Drum Anatomy
Combos, Half-open Hi-Hat, Open
Hi-Hat Sounds within Ride Patterns
LESSON SIX....................................... 18 – 19
Bass Drum Pedal, Bass Drum LESSON SEVENTEEN...................... 40 – 41
Anatomy, Pedal Technique
Stroke Styles: Down/Tap/Up,
Accent Patterns, 8th Rests, Fills
LESSON SEVEN................................ 20 – 21 Using the 8th Rest
Hi-Hat Stand, Sticks on the
Hi-Hat, Beginning Independence, LESSON EIGHTEEN......................... 42 – 43
“Rock Star” Play-along Track
Syncopated Left Hand 16ths,
Multiple Bounce Roll, Drag
LESSON EIGHT................................. 22 – 23
Playing the Hi-Hat Pedal, Double LESSON NINETEEN......................... 44 – 45
Stroke Roll, Single Paradiddle,
Syncopated Bass Drum 16ths,
Sticking Patterns
Stick Bag, Rim-shot, Syncopated
Bass Drum Combos
LESSON NINE................................... 24 – 25
Music Notation Basics, Music LESSON TWENTY............................. 46 – 47
Reading Exercises, 8th Notes
16th Note Ride Pattern, One-
Handed and Alternating, Verse/Chorus
LESSON TEN..................................... 26 – 27 Musical Song Form
8th Note Grooves, Accent,
Cross- Stick, 8th Note “Combos” GROOVE LIBRARY............................ 48 – 55
Quarter Note, 8th Note Ride Pattern (48)
LESSON ELEVEN.............................. 28 – 29 Syncopated 8th Note Grooves (49)
Zildjian Family Story, Anatomy of Quarter Note Ride with BD/SN 8ths (50)
a Cymbal, Cymbal Set-up, Crash Grooves Utilizing the Toms (50)
Cymbal Stroke, Musical Phrases Open Hi-Hat Sizzles/8th Note Ride (51)
Syncopated Left Hand 16ths (52)
LESSON TWELVE.............................. 30 – 31 Syncopated Bass Drum 16ths (53)
Drum Fills, The Flam, Playing 16th Note Ride - One Handed (54)
Fills Within a Musical Phrase 16th Note Ride - Alternating (55)

6 ZILDJIAN DRUM SET METHOD

HOW TO USE THIS BOOK
Fundamentally, there is no “right” or “wrong” way to approach any book, but here are a few
suggestions that might help you get the most out of the Zildjian Drum Set Method.

If you’re a first-day beginner, you’ll obviously want to start at the beginning and progress
through each lesson in succession. This method introduces skills that build from one to the
next. If you’ve been playing a while, we recommend that you skim through the first part of the
book to make sure you understand the concepts and can play all of the material included in
each of the lessons.

In addition to learning the fundamentals of how to play the drums, this book also includes a
significant amount of information about the gear you’ll be using – necessary info which is often
omitted from other beginner drum methods. We believe that knowing how each piece of gear
functions and how to fine tune your setup is an important part of learning about the drums.

Unless you’re studying privately with a qualified drum instructor, the free VIDEO LESSONS
available on zildjian.com are a crucial part of this method. In the videos, Wayne Salzmann takes
you step-by-step through each lesson, introducing concepts and demonstrating the funda-
mentals of each new technique, groove and fill. We encourage you to pick up your sticks and
play along instead of simply watching the videos.

At the top of each lesson you can scan a QR CODE with a mobile
device that will take you directly to the content available on the
Zildjian website. Be sure to take advantage of the resources avail-
able. The content includes video lessons, play-along tracks and
extended educational material that we were not able to fit in the
pages of this book. If you wish to view the website on a desktop or
laptop computer, bookmark the address for the full lesson series:

www.zildjian.com/education/zildjian-drum-set-method.html

We’ll leave you with one final thought. The key to becoming successful is to ALWAYS HAVE
FUN! As with any worthwhile endeavor, there may be times when you become frustrated. We
encourage you to take a step away from the book during each practice session and play along
to some of your favorite tunes. Not only will you have fun, but by using your ears and listening
to music created with professional drummers, you’ll develop a sense of how to create parts
that serve the music – which is the true role of all great drummers.

Good luck on your journey!

ZILDJIAN DRUM SET METHOD 7

LESSON ONE Scan for video lesson
@ zildjian.com ––>

YOUR FIRST DRUM BEAT

In most popular forms of music, the drummer is the primary time-keeper, providing a steady pulse and
defining the “groove” of the song. The drummer lays down a foundation of rhythm that is the glue that
holds the band together and helps to create a unified musical style. The first and foremost skill that a
drummer must develop is a sense of time, or the ability to keep a steady tempo with his or her beat.

The first step in learning to play the drums is being able to find the “beat” or pulse of a song. In your
first drum beat, you’ll start out by playing your right hand along with the pulse of a variety of styles of
music. Your right hand will play the RIDE PATTERN (or “overriding pattern”) of steady beats. For now,
just play your right hand on your leg – we’ll get to the drum set later.

EXERCISE #1
1 2 3 4

X X X X
Almost all popular music has a steady beat in
FOUR, so play one of your favorite tunes and see if RH
you can find the pulse. Practice counting out loud
to four (over and over) while you tap your right
hand on your leg.

In music notation, X’s are used for cymbals. Eventually, your right
hand will play this “ride pattern” on the ride cymbal or hi-hat.

Almost any popular tune will work for these exercises, but if you’re
looking for music in a wide variety of styles, check out the play-along
tracks and song recommendations on Zildjian.com.

EXERCISE #2

œ œ
1 2 3 4 In this exercise, you’ll see dots (which we call “note
heads”) in the boxes on the PRIMARY BEATS –

RH
X X X X counts 1 & 3. Start by playing your right hand on
your leg in time with some music, then tap (or
stomp) your foot on 1 & 3.

RF Eventually, you’ll play the bass drum with your right

foot. As you practice this exercise, make sure that
both limbs are hitting exactly together and that
you’re keeping steady time with the music.

8 ZILDJIAN DRUM SET METHOD

 œ œ
œ œ
EXERCISE #3
1 2 3 4
Now you’ll add the left hand (which plays the snare
drum) on the BACK BEATS – counts 2 & 4. Listen to LH
one of your favorite songs and begin counting “1,
2, 3, 4” out loud to the beat. Begin tapping your
RF
right foot on counts 1 & 3 and the left hand (on
your left leg) on counts 2 & 4. Try several styles of
music in a variety of TEMPOS.

EXERCISE #4

œ œ
1 2 3 4 Finally, add the right hand ride pattern to your

X X X X
œ œ
left hand and right foot to complete the first
RH drum beat (or “groove”). This may not be easy
at first since it requires 3 way “coordination” –
3 limbs playing different patterns at the same
LH time. If it’s difficult for you at first,

SLOW IT DOWN and BREAK IT DOWN!

RF
Master each of the exercises below, one at a
time, building up the full four count groove.

A: COUNTS 1 & 2 B: ADD COUNT 3 C: ADD COUNT 4

œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X X
œ œ œ œ œ
RH RH RH

LH LH LH

RF RF RF

YOUR ASSIGNMENT FOR THIS LESSON

Play the four count drum beat, with your hands on your legs and feet on the floor, along with several
different songs at several different tempos. You should be able to keep a steady beat with the music,
with the limbs hitting exactly together on each count.

You’ll know if you’ve mastered this first rock beat if you’re able to hold a conversation or read some-
thing out loud while you play. We call this MUSCLE MEMORY. This means that you’ve trained your
muscles to perform without having to think about what you’re doing (like walking and chewing gum).

ZILDJIAN DRUM SET METHOD 9

LESSON TWO Scan for video lesson
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LEARN ABOUT DRUM STICKS

There are literally hundreds of models of drum sticks, each designed for a specific FEEL and to create
a certain SOUND on the drums and cymbals. Finding a stick that’s right for you will be based on the
size of your hands, your personal playing style, the musical genre or even the size of the venue you’re
performing in. Before we dive into the specifics, take a minute to memorize the parts of a stick.

ANATOMY OF A DRUM STICK

Tip Shoulder Butt

Neck Shaft

FINDING YOUR PERFECT PAIR

There are several determining factors that go into the design of a stick, each working together to create
its unique feel. Knowing a little about these properties will help you find your perfect pair.

1) THICKNESS
The thickness of a drumstick’s shaft affects its overall weight, projection, and strength. A thinner stick
plays faster and creates a lighter sound on drums and cymbals. A thicker stick will offer power and pro-
jection. Here are two examples in stick thickness from our drum set category.

2) LENGTH
The length of a stick affects its leverage and the reach. When comparing two sticks with the same diam-
eter and taper, a longer stick will feel “front heavy,” giving the player more leverage and power. These
two sticks have exactly the same diameter, but with an extreme difference in length.

10 ZILDJIAN DRUM SET METHOD

3) TAPER
Along with a stick’s length, taper also affects its feel and balance. The amount of taper determines
whether the stick feels “front heavy,”“back heavy” or evenly balanced. A LONG taper produces more
flex and faster response, great for musical styles where speed and a light touch is important.
neck shoulder
TAPER

A SHORT taper increases the size of the neck of the stick, providing more power and durability. Many
hard-hitting drummers prefer a short taper because it feels heavy on the front end.
neck shoulder
TAPER

A MEDIUM taper provides the best balance between the butt and the tip.

4) MATERIAL
The type of wood a stick is made from has an affect on its response and durability. MAPLE has a fine
grain pattern, producing a light, fast playing stick with the greatest amount of flex.

HICKORY has a fibrous grain pattern and is denser and more rigid than maple. A hickory stick is capa-
ble of withstanding shock, making it by far the most popular type of wood for crafting drumsticks.

5) SURFACE COATING
The final coating applied to a stick may also affect how it feels in your hand. Most sticks are finished
with a light coat of lacquer, but we also offer sticks that are painted or dipped in an anti-slip coating.

These are just a few of the many factors that go into the design of drum sticks.
Take time to watch the “Drumsticks 101” and “How Sticks Are Made” videos
included on the web page for this lesson. To find the your Perfect Pair,
experiment with different models until you find what works best for you.

ZILDJIAN DRUM SET METHOD 11

LESSON THREE Scan for video lesson
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GRIPPING THE STICKS

Once you purchase your first pair of drum sticks, you may be tempted to just grab them and start play-
ing, but if you’ll take a few minutes to learn how to hold them correctly, you’ll be much better off in the
long run. If you don’t have a pair of sticks yet, grab some dowel rods or spoons and follow along.
1/3

1/3

FIND THE BALANCE POINT 1/3

The best place to grip the stick is usually about a third of the way
from the butt end of the stick (on the “flag” if you’re using a Vic Firth® stick).

ESTABLISH THE FULCRUM

The spot where you’ll grip the stick is called the FULCRUM – the pivot
point of the stick in the hand. At the balance point, grasp the stick be-
tween the fleshy part of the thumb and the first joint of the index finger.

WRAP THE BACK FINGERS AROUND THE STICK

The back end of the stick should fall between the heel and the “life line”
in the palm. Gently wrap the back fingers around the stick, keeping a
small amount of space between the back fingers and the palm.

THE MATCHED GRIP

The most natural way to hold the stick is in the matched grip,
where both hands grip the sticks exactly the same. Repeat the
steps above for the left hand grip, then try “wiggling” the sticks
in the air. You should feel the sticks bouncing between the palm
and the back fingers, with just enough control in the fulcrum to
keep the sticks from sliding around in your hands.

12 ZILDJIAN DRUM SET METHOD

 ADJUSTING YOUR THRONE AND PRACTICE PAD HEIGHT

Beginning drummers will often use chairs or stools that will not adjust
to the proper position for playing the drum set, so having a good drum
throne is very important. Adjust the throne height so that your legs are
just above parallel to the floor and your heels are below your knees.

With your sticks in your hands, drop your

arms by your side. Pick up your forearms
and place the tips of the sticks together
in front of your body at roughly a 90º
(or slightly smaller) angle. Try to RELAX
your shoulders and let your elbows hang
naturally by your side.

Having a great posture is very important! Rounded or slumped shoulders

will cause lower back pain if you play the drums for any length of time.

THE PRACTICE PAD

If you want to practice without annoying the family or
neighbors, having a great drum pad is an essential tool.
Zildjian practice pads have a solid wood base and soft
silicone surface for just the right amount of rebound.

SETTING UP THE DRUM (OR PAD)

Whether you’re starting out on a snare drum, or with just a practice pad on a stand, you’ll need to
adjust the height so that it is positioned a few inches above your legs. Adjust the tilting mechanism so
the playing surface is level. As you place the tips of the sticks in the center of the pad, your forearms
should be slightly below parallel, with your hands relaxed at about a 45º angle.

ZILDJIAN DRUM SET METHOD 13

LESSON FOUR Scan for video lesson
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THE REBOUND STROKE

The REBOUND stroke (also called the “FREE STROKE” or “NATURAL STROKE”) is named for how the
stick is allowed to naturally rebound when it strikes the drum head. The rebound stroke is one of five
basic strokes you’ll learn for playing the drums.

WITHOUT THE STICK

Raise your arm to the playing position
and pretend to dribble a basketball using
a relaxed wrist motion. Keep the fingers,
wrists and forearms completely free of any
tension.

WITH THE STICK

Raise the tip of the stick until it’s perpendicular
with the floor, allowing a little space between
the palm of the hand and the back fingers.

As you “throw” the stick to the drum, allow

it to rebound naturally back up. As you play
repeated notes, the stick should travel in a
smooth motion up and down.

ONE HAND REBOUND STROKES

To master the rebound stroke, you must train your muscles to respond in the same way every time – even
when you’re not thinking about it. We refer to this as “muscle memory.”

Play right hand strokes for 4-5 minutes, keeping a steady beat with a some of your favorite tunes. Con-
centrate on the motion of the stick to make sure there is no tension in your arms, wrists, hands or fingers.
Repeat the exercise with your left hand.

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

14 ZILDJIAN DRUM SET METHOD

“8 ON A HAND“ EXERCISE
Once you feel comfortable with playing right and left hand rebound strokes separately, try playing 8 strokes
on the right, followed by 8 on the left. Watch yourself in a mirror to monitor your grip and path of the stick.
You should see a smooth motion, straight up and down, hitting the pad in the center on each stroke. Also
check to make sure you’re maintaining good posture.

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

ESSENTIAL RUDIMENT: SINGLE STROKE ROLL

The RUDIMENTS are fundamental skills or patterns that will serve as a building block to great hand tech-
nique. The first rudiment to learn is called the SINGLE STROKE ROLL (a.k.a. Alternating Single Strokes).

You’ve probably heard single stroke “rolls” played on the drum set (or other percussion instruments such
as timpani). However, playing alternating strokes fast enough to sound like a roll takes a while to develop.
For now, start at a slow to medium tempo, alternating right and left hand rebound strokes. If you develop
smooth, relaxed rebound strokes and practice consistently, you’ll eventually be able to play fast enough
that it will sound like a “drum roll” – but don’t rush the process.

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

Most drummers have a dominant hand (usually the right). To aide in the
development of your weak hand, practice starting your rudiments on the
left. This will help you to balance the sound between right and left.

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

Take your time and play along to some music to help you keep a steady tempo. THEN try starting slow and
gradually speed up to as fast as you can go, always listening to make sure the strokes are relaxed, even and
smooth from right to left. As you get to a speed where your strokes “lump up,” stop and start again from a
slower speed. If you practice consistently, over the course of time you’ll eventually develop speed.

This is an exercise you can do away from the drum with just your hands on your legs. Remember to stay
RELAXED and use your wrists, NOT your arms.

RECOMMENDED PRACTICE TOOL: A METRONOME

We know that THE most important role of the drummer is to provide a steady
beat. A metronome is a device that produces a stead pulse. If you’re not playing
along with a tune, you can use this tool to help you develop better “time.” Check
out the website lesson page for web based metronomes and mobile apps.

ZILDJIAN DRUM SET METHOD 15

LESSON FIVE Scan for video lesson
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LEARN ABOUT YOUR SNARE DRUM STAND

No matter what level of drummer you are, getting to know your equipment is very important. The drum
stand presented here is just one example of hundreds of models from manufacturers around the world
– and, while all stands have unique designs, they share similar functions.
WING BOLT

STAND BASE
Start by setting up the base of the snare stand. Extend the legs far
enough apart to provide a solid foundation for the drum. Slightly tight-
en the wing bolt to secure the legs in place. Avoid over-tightening ANY
stand bolts because you’ll risk stripping out the threads. LEGS

All stands should have rubber feet on the legs to keep it from sliding.
Stand legs may be folded up for convenient storage.

FEET

BASKET SNARE BASKET ASSEMBLY

CLAW Insert the top section of your stand into the base. For
now, estimate the height of the stand and tighten the
height adjustment bolt.

All snare stands will have a basket tilting mechanism of

BASKET ARM
BASKET some sort. Position the basket where it is completely
ADJUSTMENT level and tighten the wing bolt.
SCREW TILTING
MECHANISM Open the basket arms as wide as possible using the
basket adjustment screw. When placing the drum
POST inside the basket, be careful to not set the drum on
top of a “claw” – it could damage the bottom head
(especially if your stand does not have rubber claws).

HEIGHT Tighten the basket width adjustment screw until the

ADJUSTMENT BOLT claws fit firmly around the drum. The claws will keep
your drum from falling off the stand if it gets bumped.

16 ZILDJIAN DRUM SET METHOD

 SNARE DRUM ANATOMY

COUNTER HOOP (RIM) BATTER (TOP) HEAD A snare drum shell can be made of a wide range
of materials, including aluminum, steel or various
types of wood. The top head or batter head is
much thicker than the bottom head. Most snare
drum batter heads are “coated”, which controls
the natural ring of the drum.

The drum heads are held in place by top and

bottom counter hoops. Tension rods are used to
adjust the tension of the drum heads. These rods
are threaded into the rod casing.

RESONANT (BOTTOM) HEAD

TENSION ROD DRUM SHELL

(LUG)
ROD CASING

The resonant head (bottom head) is made from thin

mylar, which allows the snare wire to vibrate when air is
pushed through the drum.
SNARE
The snares are usually made from steel wire, but cable SNARES GATE
(SNARE WIRE)
and gut are also used for different sound qualities. The
snares attach to the snare strainer by feeding the string
through the snare gate (open slot) in the bottom rim.

SNARE ADJUSTMENT KNOB SNARE STRAINER

The snare throw off is the lever of a snare strainer mechanism that al-
lows you to turn the snares “on” (engage the snares) or “off.” A snare
adjustment knob is used to adjust the tension of the snare wires.

SNARE THROW OFF

If you own a snare drum, you’ll want to spend some time tuning
it so it’ll sound great. Be sure to check out ZILDJIAN.COM for
more resources on how to tune and mute your drums.

ZILDJIAN DRUM SET METHOD 17

LESSON SIX Scan for video lesson
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THE BASS DRUM

Before diving into how to play the bass drum, it’s important to learn about the pedal. Making sure that
the pedal functions properly is necessary to develop great foot technique.

BASS DRUM PEDAL ANATOMY BEATER

A modern bass drum pedal is arguably the

most complex piece of equipment on the BEATER SHAFT
drum set. Be sure to watch the video lesson
to learn how each of the mechanisms can BEATER HEIGHT
CAM ADJUSTMENT
be adjusted to get a smooth motion from
your pedal.
DRIVE (CHAIN/STRAP)
Vic Firth® makes a wide range of VicKick®
bass drum beaters that can give you even TENSION SPRING
more sound possibilities. (ADJUSTMENT SCREW)
HOOP
CLAMP FOOTBOARD

HEEL PLATE

SPUR
ADJUSTMENT SCREW
FOOT PLATE

BATTER
HEAD
CLAW BASS DRUM ANATOMY
Like the snare drum, the bass drum has a
shell, drum heads, tension rods and rod
casings. The COUNTER HOOP however, is
generally made of wood. Tension rods are
attached to the hoop with a CLAW.

Bass drums also have SPURS which stabi-

COUNTER
lize the drum and can help to keep it from
HOOP
creeping forward as you play the pedal.

Check out ZILDJIAN.COM for resources on

SPUR RESONANT how to tune and mute your bass drum to
HEAD get a great sound.

18 ZILDJIAN DRUM SET METHOD

SETTING UP YOUR BASS DRUM
Having a good drum rug is an important part of your setup. Not
only will it keep the bass drum securely in place, but you can
also avoid damaging your home’s wood floors or carpet. The
Zildjian Deluxe Drum Rug is specifically designed with a non-
slip backing, strong polyester filament and weighted corners.

To set up your bass drum properly, start with a

comfortable snare position with your feet directly
under your knee. The bass drum pedal should be in
a position where your right foot naturally falls.

BASS DRUM PEDAL TECHNIQUE

There are two techniques generally used
to play the bass drum. The HEEL DOWN
approach is easier initially, and is gen-
erally preferred by drummers who want
control for expressive playing. HEEL UP
allows for greater volume and speed. Be
sure to watch the ZDM Lesson 6 video
for instruction on how to play the pedal
using both of these techniques.

After you’ve gotten comfortable playing steady pedal strokes, try adding the bass drum to ALTERNATING
SINGLE STROKES (starting on the right AND the left).

œ œ œ œ
SN
R L R L SN
L R L R
BD BD

œ œ
If you’ve worked consistently on your
Single Stroke Roll, you may be able to
SN
R L R L R L R L
play fast enough where playing the bass BD
drum on every 4th note is easier.

ZILDJIAN DRUM SET METHOD 19

LESSON SEVEN Scan for video lesson
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THE HI-HAT

Another complex piece of gear on the drum set is the hi-hat stand. Be sure to watch the video to learn
how to setup and adjust the hi-hat before you begin to play the exercises on this lesson.

UPPER HI-HAT STAND ANATOMY

PULL ROD CLUTCH
CLUTCH DIAGRAM

WING BOLT
FELT &
ANGLE
WASHER LOCK NUT (TOP)
SCREW
FELTS
UPPER TUBE (TOP & BOTTOM)

HEIGHT LOCK NUT

(BOTTOM)
ADJUSTMENT

INTERNAL PULL ROD ASSEMBLY

LOWER TUBE

LEGS HI-HAT SETUP

Position the hi-hat pedal at the
LOWER spot where your foot naturally
PULL ROD falls. The height of the cymbals
is a matter of personal taste
CHAIN and playing style, but you’ll
need to easily play with the tip
SPURS
of the stick on the top of the
cymbal and the shoulder of the
HINGED FOOTBOARD stick on the edge.

HI-HAT CYMBAL SELECTION

For most of today’s popular music, the pair of hi-hat cymbals
are arguably the most important cymbals on the kit. While
there are many models of cymbals, all with their own unique
sound characteristics, Zildjian’s 14” New Beat Hi-Hats are con-
sidered the most versatile in the world today.

If you’re looking for practice options, the L80 Low Volume cym-
bals are 80% quieter than traditional cymbals.

20 ZILDJIAN DRUM SET METHOD

 Did you know that the “hi-hat” stand developed from a device known as the
“lowboy”? To learn about how this unique instrument evolved, check out
“A Century of Drum Set Evolution” series at www.vicfirth.com/education.

PLAYING THE STICKS ON THE HI-HAT

Most drummers play “right-over-left” on hi-hat/snare patterns, although playing the left hand on the hi-hat
(called the “open hand position”) offers many advantages as well. While pressing the hi-hat pedal down
with the foot, experiment with playing steady rebound strokes on the right and left hands. You may wish to
turn your hand slightly to the “French Grip” position to make the stroke easier (especially on the left).

BEGINNING INDEPENDENCE
In these exercises, you’ll play steady hi-hat strokes with one hand and add snare (with the opposite hand)
and bass drum. Strive to keep the motion of the hi-hat strokes smooth and consistent.

1 2 3 4

œ
X X X X
œ X X X X
œ œ œ
X X X X X X X X

œ œ œ œ œ
HH HH HH HH

SN SN SN SN

BD BD BD BD

These next exercises work great as new drum beats. Play each exercise separately along with some music
until it feels comfortable then mix-and-match exercises to come up with even more variations.

5 6 7 8
X X X X
œ X X X X
œ X X X X
œ X X X X
œ
œ œœ œ œ œ œ œ
HH HH HH HH

SN SN SN SN

BD BD BD BD

“ROCK STAR” PLAY-ALONG TRACK

Our first play-along track utilizes this drum beat, which we call “four on the floor” (because it has bass
drum notes on all four beats). Practice this groove with a metronome until you can play in perfect time.

œ œ
X X X X On the zildjian.com lesson page, you can download two versions of this

œ œ œ œ
HH
track. The first has a built-in “click” that can help you maintain a steady
SN
tempo. The second version has NO click, which makes playing along a real
BD challenge. Use your ears and listen to the other musicians to stay in time.

ZILDJIAN DRUM SET METHOD 21

LESSON EIGHT Scan for video lesson
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PLAYING THE HI-HAT PEDAL

Similarly to bass drum technique, you can play the hi-hat either HEEL UP or HEEL DOWN. The heel
down technique is usually easier at first, but heel up will help you to develop a much better “chick”
sound on left foot hi-hat notes.

œ œ
R L R L R L R L
œ œ
Practice both heel up and heel down hi-hat notes
SN
with your favorite tunes. After you’re comfortable,
play the hi-hat and bass drum along with every BD

X X X X
OTHER stroke of the Single Stroke Roll, first start-
HH
ing on the right, then starting on the left.

NEW RUDIMENTS:
DOUBLE STROKE ROLL (Alternating Double Strokes)
The second rudiment to learn is the DOUBLE STROKE ROLL (or “Alternating Double Strokes”). Practice
this first with your hands on your legs, making sure that both strokes in each hand sound the same. Next,
try it with sticks on a practice pad or snare drum, playing along with a metronome or some music.

L L R R L L R R L L R R L L R R
When you’ve developed consistent, relaxed strokes in the hands, add the bass drum and hi-hat – first
on every downbeat, then ALTERNATING THE FEET (starting on the left as well as the right).

œ
R R L L R R L L
œ œ
L L R R L L R R
œ
SN SN

BD BD

HH
X X HH
X X

SINGLE PARADIDDLE
Another important rudiment is the PARADIDDLE, which is two single strokes and a double stroke. First
practice this with your hands on your legs while you say “par-a-did-dle” to yourself.

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

œ
R L R R L R L L
œ
Once you’re comfortable playing paradiddles SN

with just the hands, add the feet. Start by playing

BD
both feet together on every other stroke, then
try ALTERNATING the bass drum and hi-hat. HH
X X
22 ZILDJIAN DRUM SET METHOD
 STICKING PATTERNS
Practicing other sticking patterns will help you to develop a consistent sound from right to left hand.
Start slow, practicing each exercise separately with a metronome or one of your favorite tunes. Once
you’re comfortable, add the feet with every other stroke – first together, then alternating.

1 R L R L R L R L 13 L R L R L R L R

2 R R L L R R L L 14 L L R R L L R R

3 R L L R R L L R 15 L R R L L R R L

4 R L R R L R L L 16 L R L L R L R R

5 R L L R L R R L 17 L R R L R L L R

6 R R L R L L R L 18 L L R L R R L R

7 R L R L L R L R 19 L R L L R L R L

8 R R R L R R R L 20 L L L R L L L R

9 R L L L R L L L 21 L R R R L R R R

10 R R R R L L L L 22 L L L L R R R R

11 R L R R L R R L 23 L R R L R L L R

12 R R L R L R L L 24 L L R L R L R R

There are literally hundreds of ways to apply sticking patterns to the

drum set. For even more exercises, check out “STICK CONTROL FOR
THE SNARE DRUMMER” by George Lawrence Stone.

ZILDJIAN DRUM SET METHOD 23

LESSON NINE Scan for video lesson
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MUSIC NOTATION BASICS

œ œ œ ¿
œ œœ
Music is written on a STAFF which has 5 lines and 4 spaces.

œ œ œ
œ œ
HH
Note heads placed on
the staff tell us which SN

instrument to play. BD

Note heads can be ON the lines or IN the spaces.

q
STEM QUARTER NOTES have a note head
and a STEM. The stem can also be
NOTE used to group note heads together.
HEAD
A quarter note is equal to 1 count.

BAR BAR
LINE LINE
BAR LINES separate notes into equal
number of counts. A MEASURE is the
space between two bar lines.
MEASURE MEASURE

The end of a piece of music is notated with a DOUBLE BAR LINE.

The top number in the TIME SIGNATURE

The PERCUSSION CLEF tells
tells you how many counts belong in a
you that the notes on the staff
measure. The bottom number tells you
are for non-pitched instruments.
what kind of note receives one beat.

In most popular music, the top number in a time signature is a 4, but you may see other numbers too.
Count out loud while you can play these measures with different time signatures.

A B C

The double bar with two dots at the end of each measure is called a
REPEAT SIGN. When you see a repeat sign, play the passage again.

24 ZILDJIAN DRUM SET METHOD

 w h
A WHOLE NOTE is equal to 4 counts. A HALF NOTE is equal to 2 counts.

MUSIC READING EXERCISES

Keep steady time with the bass drum while you play the various rhythms on the snare drum.
1 2

3 4

A QUARTER REST ( Π) can take the place of a quarter note. Try these exercises with quarter rests.

5 6

Check out ZILDJIAN RHYTHM CARDS for a fun way to work

on your music reading skills. www.zildjian.com/education

e EIGHTH NOTES have a

FLAG attached to the stem.
Groups of 8th notes can be
connected together with a BEAM.

8th notes “subdivide” the beat into two parts. The first 8th note in a pair falls on the DOWNBEAT (the
numbers), the second falls on the UPBEAT (“ands”). Try these two grooves with 8th notes in the hi-hat.

7 8

ZILDJIAN DRUM SET METHOD 25

LESSON TEN Scan for video lesson
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8TH NOTE GROOVES

Now that you’re familiar with 8th note subdivisions, we can apply several variations to where the bass
drum and snare drum beats fall in the measure to create many new 8th note rock beats. On each of
these grooves, start slow and work with a metronome or track to maintain a steady tempo.

1 2

3 4

You can also add snare drum notes other than just the backbeats.

5 6

The next two grooves have a “syncopated” feel because it moves the bass drum to the upbeat of
count two without following with downbeat on count three. SYNCOPATION is the a placement of
rhythmic stress where it wouldn’t normally occur.

7 8

Adding an ACCENT (or emphasis) on the upbeat of count 2 produces an even more syncopated feel.
An accent in music is notated as a “greater than” sign on a note ( > ).

9 10

26 ZILDJIAN DRUM SET METHOD

CROSS-STICK
The “cross-stick” is a snare sound that’s often used
to mimic a woodblock or clavé. Lay your stick across
the drum with the butt hanging off 3-4 inches. With
the tip of the stick resting on the drum, lift the butt
end and strike the rim. Be sure to watch the video
lesson for a detailed explanation.

Typically, the cross-stick sound is used in a lighter section of a sound (such as a

verse). The cross-stick is often notated with a light circle around the snare drum note.

11 12

8TH NOTE GROOVE “COMBOS”

Repeat each of these 2 count groove variations separately until you have a nice, relaxed feel. NEXT,
combine two random numbers to come up with one measure 8th note groove variations. THEN, com-
bine four random numbers to come up with TWO measure grooves.

1 2 3 4

5 6 7 8

9 10 11 12

The GROOVE LIBRARY on page 46 in the back of the book has more
great ideas to explore. Work through each of them separately until
you’re comfortable moving from one to the next without a break in
tempo. Combine one measure grooves for even more challenges.

ZILDJIAN DRUM SET METHOD 27

LESSON ELEVEN Scan for video lesson
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THE CRASH CYMBAL

THE ZILDJIAN FAMILY STORY

The crash cymbal is part of the world’s shared history. The Zildjian family has
been part of that history since 1618 when Avedis I, the son of an Armenian
metalsmith in Constantinople, Turkey, was commissioned by Sultan Osman II
to make gold by fusing base metals – a process known as alchemy.

Although Avedis wasn’t able to create gold, he discovered a unique blend

of cooper, tin and silver that produced brilliant sound qualities. This highly
durable alloy could be flattened, shaped into sheets and lathed, all without
compromising its structural integrity, which made the metal perfect for cre-
ating cymbals. This secret alloy is the same closely guarded recipe that the
Zildjian family uses today to produce the world’s best sounding cymbals.

Avedis’ uniquely crafted cymbals quickly became the standard for use in the Turkish Janissary bands.
In 1623, the sultan granted Avedis the tile “ZILDJIAN” – a combination of ZIL (“cymbal”), DJI (“maker)
and IAN (“son of”). With that blessing, the Avedis Zildjian Company was formed.

Throughout nearly 400 years of history, Zildjian has maintained its status as the world’s premier cymbal
maker. From 1623 to today, drummers and percussionists around the world have turned to the sound of
Zildjian cymbals as the “gold standard”. It looks like Avedis was able to create gold after all.

Take some time to read about the fascinating history of the Avedis Zildjian Company and learn how
cymbals are made at www.zildjian.com/brand-journeys.

ANATOMY OF A CYMBAL BELL SIZE

BOW/PROFILE

CENTER
HOLE
EDGE DIAMETER

The “crash” cymbal – a term coined by

BELL
(or CUP) Avedis III – is generally thin in weight and
creates an explosive, bright sound with
a relatively quick decay. There are many
RIDE models of crash cymbals, from thick and
AREA heavy to thin and light. The most popular
crash cymbals range in size from 16-18”.
CRASH
AREA

28 ZILDJIAN DRUM SET METHOD

CYMBAL STAND SET-UP
The base of the cymbal stand is the same as the snare stand, TILTING BOOM
but generally there are more posts so that you can raise the MECHANISM ARM
cymbal to your desired height. Cymbal stands have a tilting
mechanism and some include a “boom” arm so that you have
more flexibility with where the stand is positioned on the kit.
WING NUT
To keep your cymbals from unnecessary damage, it’s important
to have sleeves, bottom and top felts and a wing nut. The cymbal FELTS

should be able to move freely, so avoid over tightening the wing nut.
SLEEVE
Position the crash cymbal within easy reach at a slight angle. You should
be able to play with the tip of the stick on the bell or bow as well as
being able to crash with the shoulder of the stick on the edge.

CRASH CYMBAL STROKE

To avoid damage to your sticks or cymbals, always strike them with a
“glancing blow”– either by drawing the stick away from the cymbal im-
mediately after you strike it, or by using a “J” (or backwards “J ”) stroke.

Practice these two exercises with a metronome so you can learn to play a crash without loosing tempo
in the groove. In the first, you’ll return to the hi-hat on the upbeat immediately after the crash (which
requires a quick wrist motion). In the 2nd exercise, return to the hi-hat WITH the backbeat on count 2.

1 2

MUSICAL PHRASES
Cymbal crashes can serve to shape the form of a musical phrase, but they can be disruptive if played
too often. Use this exercise to practice playing a crash at the beginning of an 8 bar phrase. Keep track
of where you are in the 8 measure phrase by counting out loud while you play.

Count: 1 2 3 4 2 2 3 4 3 2 3 4 4 2 3 4

5 2 3 4 6 2 3 4 7 2 3 4 8 2 3 4 1

ZILDJIAN DRUM SET METHOD 29

LESSON TWELVE Scan for video lesson
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DRUM FILLS

Drummers often set up transitions with a DRUM FILL – bridging the gap between musical phrases. Fills
give you the opportunity to be creative and expressive beyond laying down the groove of the song, but
also need to fit within the context of the music.

The first step to learning to play a fill is to practice a

simple 2 beat “framework”, starting on beat three. 1
In this example,there is a HALF REST on counts 1, 2
( ) followed by 8th notes on “3-&-4-&” into a
crash on the downbeat of the next measure.

Next, try putting the 2 beat fill in the context of a groove. In this example, you’ll play a groove for 6
counts, with a fill on counts 3 - 4 in the second measure. Work with a metronome to make sure you
maintain a steady tempo during the fill and back into the groove.

Once you have that simple 2 count framework comfortable, you can begin to create variations to make
your fills more interesting. Here’s a few ideas to get you started.

3 4 5

You can also play a “half open” hi-hat with the snare to fill up the sound. And adding a CRESCENDO
(start soft and gradually get louder) will help propel the momentum of the fill to the next phrase.

6 7 8

After you’ve worked up each of these ideas separately, try plugging them into the 2 measure groove
example (#2) above. Use your imagination to come up with your own fill ideas as well.

30 ZILDJIAN DRUM SET METHOD

 Drummers are judged by whether they can keep a steady groove in and out of a
fill. Practice your fills with a metronome so that you don’t RUSH the tempo.

…q
GRACE
NEW RUDIMENT: THE FLAM NOTE

A “flam” is a combination of a soft GRACE NOTE and a loud PRIMARY STROKE, with
the grace note striking the drum just before the primary stroke. This rudiment is used
to fatten the sound of a stroke, making it a very effective tool in drum fills. PRIMARY
STROKE

To play a flam, position one stick close to the drum and the other
in the full height (“up”) position. If you drop the sticks at the same
time, the grace note will hit just before the primary stroke since it is
closer to the drum. As you practice your flams listen for the “faLAM”
sound on each one.

The full rudiment is played by alternating the flams. You can vary the
sound of your flams by increasing the volume of the grace note or by
increasing the spacing between the grace note and primary stroke.

Now try incorporating the flam in your fills. These three examples are the same as 3–5 from the previous
page, but adding right hand flams on the snare drum.

9 10 11

PLAYING FILLS WITHIN A MUSICAL PHRASE

If you’ll think about having a conversation, you wouldn’t like it if you were interrupted in the middle of
expressing your thought. A question or affirmation at the END of your complete thought helps to “fill
the gaps” in the conversation. Listen closely to your favorite music and count how many bars there are
between fills. This is an example of where to play a fill at the end of an 8 measure phrase.

12

Count: 1 2 3 4 2 2 3 4 3 2 3 4 4 2 3 4

FILL – – –|

5 2 3 4 6 2 3 4 7 2 3 4 8 2 3&4& 1

ZILDJIAN DRUM SET METHOD 31

LESSON THIRTEEN Scan for video lesson
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THE RIDE CYMBAL

The RIDE cymbal is generally the largest, heaviest cymbal on the drum set. We use it to play “over-rid-
ing” patterns within grooves, so it has a bigger, darker sound with more stick definition than a crash
cymbal. Ride cymbals can vary in size from 19-24”, but the most popular are 20-22”.
You can produce a wide variety of sounds on the
ride cymbal. Overall, the “sweet spot” to get a full,
dark sound with the good stick definition is about
3-4” from the edge (1).
Playing closer to the edge (2) produces a darker,
“washy” sound with less stick definition. To get a 3
very heavy, washy sound with a LOT of sustain, you 1
can also play with the shoulder of the stick on the
very edge of the cymbal. 2
As you move closer to the bell (3),
the cymbal sound
becomes thin, bright and “pingy,” with a lot of high
frequency overtones.

Playing ride patterns on the bell of the cymbal is very common in drum grooves. Using the tip of the
stick will produce a thin, light, articulate sound. Playing with the shoulder of the stick will produce a
bolder, more piercing sound.
You can also use the ride cymbal to play a dark, heavy crash by using the shaft of the stick on the edge.
Remember to always use a glancing “J” (or “J“) stroke when playing a crash on the cymbal.

RIDE CYMBAL POSITION / RIGHT HAND “FRENCH GRIP”

Position the ride cymbal at a slight angle within easy reach of the right hand. Without the toms on the
kit, you should be able to easily rotate the hand from the “American Grip” position on the snare drum
to the “French Grip” at the sweet spot on the ride cymbal – without having to move your elbow.

32 ZILDJIAN DRUM SET METHOD

RIDE CYMBAL GROOVES
The ride cymbal is notated with an ‘x’ on the top line of the staff. When playing 8th note ride patterns
on the cymbal, allow the fingers to move freely to produce a relaxed, open sound. Play these two, then
go back to Lesson 10 and use the “combos” to come up with more of your own.

QUARTER NOTE RIDE PATTERNS

‚
When playing on the bell of the ride cymbal (notated with a ), it usually sounds better to use quarter
notes instead of 8ths on the ride pattern. The coordination required is a little more difficult because
the bass drum will often have to play upbeats ‘between’ the right hand downbeats.

3 4

5 6

You can play ANY of the previous grooves you’ve learned with a quarter note ride pattern. To get a
heavy “punk rock” sound, try playing the quarter note ride at a much faster tempo with the shoulder of
the stick on a half-open hi-hat – or on the edge of the crash cymbal.

ADDING THE HI-HAT ‘CHICK’

Another way to add texture to your ride cymbal grooves is to add the left foot on the downbeats. This
is very challenging because it requires FOUR WAY coordination.

7 8

9 10

ZILDJIAN DRUM SET METHOD 33

LESSON FOURTEEN Scan for video lesson
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MUSIC READING EXERCISES

As the grooves and fills become more complex, it’s a good idea to practice “sightreading” rhythms.
Practice these exercises with alternating strokes on the snare drum, then add the feet.

1 2

3 4

There are numerous ways to turn simple reading lines into challenging independence exercises. In #5,
try adding the right hand playing 8th notes on the ride cymbal while the left plays the rhythms on the
snare. On #6, play quarter notes in the RH, LH and HH and play the rhythms in the bass drum.

5 6

The ZILDJIAN RHYTHM CARDS are not only a fun way to

practice sightreading, but you can also download and print
them out to use offline as well. www.zildjian.com/education

MORE INDEPENDENCE EXERCISES

You can also use various STICKING PATTERNS to work on independence. Here is an example of the
paradiddle sticking, applying the “R’s” to your bass drum and the“L’s” on the snare along with 8th and
quarter ride patterns. After you work these up, go back to Lesson 8 and apply the other stickings.

7 8

34 ZILDJIAN DRUM SET METHOD

 THE TOMS (“TOM-TOMS”)

The first tom-tom drums (along with various other accessories) that were add-
ed to the trap set in the vaudeville era were of Chinese origin – with skin heads
tacked to wooden shells. Modern “tunable” toms were developed in the early
1920’s and 30’s, with perhaps the most famous application being Gene Krupa’s
solo on “Sing Sing Sing” in the 1937 movie “Hollywood Hotel.”

Smaller toms (6”-13”) are generally “mounted” with brackets on

the bass drum or are set up on a separate snare or tom stand (or
drum rack). Floor toms (14”-18”) usually have 3 legs, although
they can be mounted on stands as well. When setting up your
toms, always position them within easy reach.

Be sure to check out the video lesson for instructions

on how to tune and mute your toms.

MOVING AROUND THE TOMS

Mounted toms are usually notated ABOVE the snare and the floor tom BELOW the snare on the staff.
As you learn to play the toms, it’s important to stay relaxed. Try to use a large wrist motion, use as little
forearm motion as possible and keep the elbows close to your body.

9 10

11 12

ZILDJIAN DRUM SET METHOD 35

LESSON FIFTEEN Scan for video lesson
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GROOVES UTILIZING THE TOMS

After you’ve gotten comfortable moving around the toms, you can take many of the same 8th note
beats that you’ve learned in the previous lessons and move the left hand to the toms.

1 2

3 4

5
This groove uses the same idea as #4, but with a
FLAM on beat 4 between the toms.

Another effective way to use the toms in grooves is to play the ride pattern on the floor tom.

6 7

HEARING PROTECTION
While playing the drums loud fun, realize that sustained exposure WILL cause hearing loss. A typical
drum set volume ranges from 90-110 decibels (dB), which is similar to a motorcycle or power saw. Here
are some products that we recommend that will help protect your hearing.

VIC FIRTH®
DRUMMER’S ZILDJIAN PROFESSIONAL
HEADPHONES IN-EAR MONITORS

ZILDJIAN HI-FI
EAR PLUGS
VIC FIRTH®
STEREO ISOLATION
HEADPHONES

36 ZILDJIAN DRUM SET METHOD

 SIXTEENTH NOTES

x
A sixteenth note has two flags or beams. There are FOUR 16ths in
each quarter note. When counting in quarter time, we count 16th
notes “1-e-&-a”. Practice counting, then playing these two exercises
along with a metronome to develop tempo control with 16th rhythms.

8 9

16TH NOTE FILLS

Next, you can apply the 16th rhythm you learned on the previous page to a two count fill. Practice this
exercise with some music until you can play the fill and return to the groove in time. This simple two
beat rhythm will become a frame work that we’ll use to create other fills.

FILL – – – – – – –|
10

This next fill uses the same rhythms around the kit. Playing a double right on the floor tom on count
four makes coming back to the cymbal crash with the left hand easy.

FILL – – – – – – –|
11

Here are several examples of 2 count fills using 16th notes with the same rhythmic framework, then with
varying the rhythm patterns and adding flams. Learn these, then come up with your own 2 count fills.

12 13 14 15

16 17 18 19

ZILDJIAN DRUM SET METHOD 37

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OPEN HI-HAT “SIZZLE” SOUND

A hi-hat “sizzle” sound is produced when you open the space between the
cymbals just enough to allow them to vibrate against each other after you
play the hi-hat with the stick).
If you have the correct spacing of 1-2 inches between your hi-hat cymbals
when fully open, it takes just a slight movement in your left foot to get the
right amount of sizzle sound. Lift the foot too high and only the top cymbal
will vibrate. Not enough lift will produce only a short sizzle.
Open hi-hat sounds are notated with a “o” above the note. Generally,
you’ll close the hi-hat with your foot on the following note, but sometimes
the closed hi-hat is also notated with a “+” sign and/or with a left foot on
the closed note.

OPEN HI-HAT EXERCISES

First practice playing open hi-hat notes on the “&” of 1
count one, closing on count two. Make sure that the
closed note with the foot and the right hand hit exactly
together - no “flams” between the hand and the foot.

You can play open hi-hat sounds with the TIP of the stick (for a light, clean articulate sound) or with the
SHOULDER of the stick (for a heavy, dark, trashy sound).

2
Next, add the bass drum on count one. You might feel a
“walking pattern” between the feet, but make sure the left
foot is opening and closing exactly in time.

3
Finally, add the back beat on count two. Now you’ll have
three limbs hitting at the same time, so make sure they hit
exactly together to keep the closed sound clean and tight.

38 ZILDJIAN DRUM SET METHOD

OPEN HI-HAT COMBOS
Independence between the feet is necessary to play open hi-hats on different beats in the measure.
These combos move the placement of the open hi-hat along with 3 of the most common bass drum
patterns. Isolate the feet with the right hand then add the backbeat. Mix and match to create more.

1
A B C

2
A B C

3
A B C

4
A B C

HALF-OPEN HI-HAT

O
Another symbol you may see is for the “half-open”
hi-hat ( ), although playing the hi-hat with the
half-open/”sloshy” sound is generally a style. It’s still
possible to get an open hi-hat sound while you’re playing with a half-open style - but you have to work
on getting just the right amount of foot pressure between fully open on the “& of 4” to half-open on 1.

ADDING OPEN HI-HAT SOUNDS IN RIDE CYMBAL PATTERNS

When you’re playing a ride pattern on the ride
cymbal, you can still get an open hi-hat sound.
Here’s an example of using the LEFT hand on the
hi-hat while maintaining the right hand ride pattern.
Check out the video lesson to see how it’s done.

The “Spy Games” play-along track for this lesson incorporates the cross-stick
and open hi-hat sizzles. Go to zildjian.com/education to play along.

ZILDJIAN DRUM SET METHOD 39

LESSON SEVENTEEN Scan for video lesson
@ zildjian.com ––>

DOWN / TAP / UP STROKES

Adding new stroke styles are not only important for developing great hand technique, but mastering
them will bring more dynamics into your playing – creating a better feel in your grooves and fills.

DOWN STROKE (“Controlled Stroke”)

A down stroke (sometimes called a “accented stroke”) is played at a higher volume level and height
than surrounding unaccented notes. To gain control over the rebound, you’ll need to stop the stick
after it strikes the drum. The down stroke STARTS HIGH AND ENDS LOW.

To learn the down stroke, play three full strokes, then stop
the stick 2-3” above the drum on the last stroke with a
gentle cushioning of the stick with the back fingers into
the palm of the hand.

Because the snare backbeat in most grooves

are accented (and do not rebound), they are
generally played as DOWN STROKES.

To fully understand how to approach these new stroke styles, be

sure to watch the video for this lesson at zildjian.com/education.

TAP STROKE (“Ghost Note”)

A tap stroke is played 2-3” off the head with a relaxed wrist
motion. Because tap strokes are very soft, they are often
called “ghost notes.” You’ll often see ghost notes notated
with parenthesis around the note head.

UP STROKE
An upstroke STARTS LOW AND ENDS HIGH (like a check-
mark ( 4 ). Play a soft tap and lift the stick to the full height
position. The upstroke is followed by an accented stroke.

This “down-up” motion is often used in the

ride pattern to create a strong downbeat feel.
Drummers often refer to this as the “PUSH-
PULL” technique.

40 ZILDJIAN DRUM SET METHOD

ACCENT PATTERNS
Once you’ve developed control over the down, tap and up strokes in the hands separately, you can
learn some common accent patterns that you’ll be able to use in grooves and fills. Start each of these
exercises slowly, starting on the right AND the left.

1 2 3

4 5 6

For a challenge, try adding the

‰
feet to your accent patterns.

8TH RESTS
An 8th REST takes the place of an 8th NOTE in the following exercises. You can practice more 8th note/
rest reading exercises in the ZILDJIAN RHYTHM CARDS on zildjian.com.

7 8

FILLS USING THE 8TH REST

Work up each of these fills with a metronome, then play it in the last measure of a 4 or 8 bar phrase.

9 10

11 12

13 14

ZILDJIAN DRUM SET METHOD 41

LESSON EIGHTEEN Scan for video lesson
@ zildjian.com ––>

SYNCOPATED LEFT HAND SIXTEENTHS

The next step in developing a great FEEL is to incorporate syncopated 16th ghost notes into in your
grooves to give them more texture “between” the 8th note ride pattern. As you learn these new syn-
copated grooves, remember that it’s all about the DYNAMICS between the limbs – keeping the ghost
notes really soft and the backbeats really strong.

“1-E-&” SYNCOPATED PATTERNS

Start with the rhythm pattern Move the RH to the hi-hat Finally, add the backbeat
on the snare with this sticking. and add the BD on beat one. on count two.

1 2 3

The GHOST NOTE in #2 should be played as a very soft tap. In #3, the up stroke will prepare the height
of the stick for the down stroke on beat two (which then stays down to prepare for the next ghost note).
Next, apply this pattern to a couple of grooves. Experiment with adding open hi-hat sounds as well.

4 5

“1-&-A” SYNCOPATED PATTERNS

6 7 8

Since you have time to lift the hand for the down stroke, the ghost note in #3 can be played as a tap.
Decide which stroke styles you’ll need on the ghost notes in the following two grooves.

9 10

42 ZILDJIAN DRUM SET METHOD

COMBINING THE PATTERNS
Playing the two patterns back to back creates a more complex sounding groove, but you’ll still need to
focus on the placement and volume of your ghost notes to make it feel great.

11 12

Not all syncopated notes have to be “ghosted.” 13

By changing the “ah” of count two to an ACCENT,
you can create a much more syncopated feel.

Drummers who are known for having a great feel rarely play grooves that line up exactly
with a straight 16th note subdivision. Check out the ELASTIC SUBDIVISION METRONOME
at zildjian.com/education to work on a feel that’s “between straight and swung.”

NEW RUDIMENTS: MULTIPLE BOUNCE (BUZZ) ROLL AND DRAG

Learning to play a multiple bounce (generally called a “buzz”) on each hand separately is the crucial first
step in eventually playing the “buzz roll” and “drag” rudiments.

To produce a buzz, “press” the stick into the head

with a slight amount of pressure in the fulcrum.
Adjust the pressure to shorten or lengthen the buzz.

After you’ve developed long, sustained buzzes on

each hand separately, try alternating the hands.
Start slowly, then gradually increase the tempo until
the buzzes blend together into a sustained roll.

A “DRAG” is a combination of a bounced grace note and a primary

stroke. Unlike the flam, the bounce is played as a ‘pickup’ to the
primary stroke. Say “to-DAY, to-DAY” as you play RH or LH drags.

Because the grace note is usually played as a pickup 16th note before the primary stroke, a drag is some-
times notated as a 16th with a SLASH through it. Try these grooves with ghost notes AND drags in them.

14 15

ZILDJIAN DRUM SET METHOD 43

LESSON NINETEEN Scan for video lesson
@ zildjian.com ––>

SYNCOPATED BASS DRUM SIXTEENTHS

Playing the bass drum ‘between’ the 8th notes in the ride pattern presents another independence chal-
lenge between the limbs. As you work through these exercises, always start at a very slow tempo and
practice with a metronome (with a 16th note subdivision if possible) and count out loud while you play.

1 2 3

4 5 6

Groove #7 combines these two bass drum syncopation patterns. #8 adds a ghost note and open hi-hat.

7 8

Next, you’ll add TWO bass drum 16ths. The first 16th falls between the 8th notes in the ride pattern, the
second lands WITH the right hand. Make sure the limbs hit exactly together - NO FLAMS!

9 10
Now, apply the
BD notes to
groove:

When you start adding 16th syncopations in the left hand, grooves can become complex. Remember to
ALWAYS start at a slow tempo and break the groove down by building it one count at a time.

11 12

44 ZILDJIAN DRUM SET METHOD

 Here are two other common
13 14
16th note bass drum variations.
Make sure the 1st note in the
pair hit exactly with the hi-hat.

15 16

A RIMSHOT is played by striking the drum and the rim at the same time. Learn
how to play the rimshot in the video for this lesson at zildjian.com/education.

ESSENTIAL TOOLS: STICK BAG

After you’ve collected several pairs of sticks and
other implements, you’ll want to store them properly.
The Zildjian Deluxe stick bag has adjustable floor
tom loops so that your sticks are always available
within easy reach while you’re playing.

SYNCOPATED BASS DRUM COMBOS

When you “permutate” 16th notes through a grid, you can come up with hundreds of possible groove
combinations. Using these examples, combine a number for beat one with a letter for beat two.

BEAT ONE
1 2 3 4 5 6 7

8 9 10 11 12 13 14

BEAT TWO

A B C D E F G H

ZILDJIAN DRUM SET METHOD 45

LESSON TWENTY Scan for video lesson
@ zildjian.com ––>

SIXTEEN NOTE RIDE PATTERN

Sometimes the music calls for the consistency of 16th notes through the groove. For music that’s in a
slow tempo, you can use a “one-hand” 16th note ride pattern. Once you get to a faster tempo, you’ll
need to alternate the hands on the hi-hat.

ONE HANDED 16TH NOTE RIDE PATTERN

Start with relaxed rebound Add the backbeat, but don’t Try using “push-pull”in the RH
strokes with the tip of the stick. change the relaxed RH motion. for a less busy sounding feel.
( ) ( ) ( )

1 2 3

Practice these 8th note bass drum patterns slowly at first to make sure the limbs play exactly together.

4 5

When you begin to add syncopated beats, stay relaxed in the right hand. Using the push-pull technique
becomes more difficult because the “e’s and a’s” fall on the up stroke of the right hand.

6 7 8

Practice these 8th note bass drum patterns slowly at first to make sure the limbs play exactly together.

9 10

11 12

46 ZILDJIAN DRUM SET METHOD

ALTERNATING 16TH NOTE RIDE PATTERN
For medium to fast tempo grooves, you’ll alternate the hands on the ride pattern. In this case, the
RIGHT HAND will play the back beat. It may help the feel to use the push-pull technique in the RH.
( ) ( ) ( )

1 2 3

Adding syncopated beats presents another challenge because the bass drum plays with the LEFT
HAND. In exercise #6, the left hand slides under the right to play the syncopated 16th on the snare.
( ) ( ) ( ) ( ) ( )

4 5 6

Try to keep the hi-hat notes relaxed and smooth. Generally, you should play the hi-hat SOFTER than “in
the mix” of the bass drum and snare notes of the groove.

7 8

VERSE/CHORUS MUSICAL SONG FORM

Since the early days of rock in the 50’s and 60’s, a popular way to structure the musical form of a song
was what we call Verse/Chorus (AB). The drummer will generally play a sparse, light groove in the verse
to “stay out of the way,” or not distract from the story. The chorus, or ‘hook’ of the song, often contrasts
the verse, with louder dynamics and more complex rhythms.
This is a typical drum chart with a basic groove notated for the verse and chorus. Watch the video to
learn how shape the direction of the musical phrases with your choice of style in the grooves and fills.

INTRO A FILL – –|

B FILL – –|

ZILDJIAN DRUM SET METHOD 47

GROOVE LIBRARY
QUARTER NOTE RIDE PATTERN

Practice each groove separately with a recorded track or a metronome until you can maintain a
relaxed feel in a steady tempo, then combine any two one measure patterns to come up with 2 bar grooves.

1 2 3

4 5 6

7 8 9

10 11 12

EIGHTH NOTE RIDE PATTERN

1 2 3

4 5 6

7 8 9

48 ZILDJIAN DRUM SET METHOD

WITH SNARE DRUM DOWNBEATS

1 2 3

SYNCOPATED 8TH NOTE GROOVES

1 2 3

4 5 6

7 8 9

10 11 12

13 14 15

For any of the previous 8th note grooves, you can move the right hand to the ride cymbal and add a left foot
hi-hat “chick.” Here are two common applications.

A B

ZILDJIAN DRUM SET METHOD 49

GROOVE LIBRARY
QUARTER NOTE RIDE PATTERN – with BASS DRUM & SNARE DRUM 8THS

The quarter note ride pattern can be played on the hi-hat, the ride cymbal or the bell. When playing on the
ride cymbal, try adding the left foot hi-hat ‘chick’ on the backbeats or on every downbeat.

1 2 3

4 5 6

7 8 9

10 11 12

GROOVES UTILIZING THE TOMS

Some of the ride patterns in these grooves are played on the hi-hat, some on the ride cymbal and some on the
floor tom. Try using the “push-pull” technique to get a slight accent on each downbeat.

1 2 3

4 5 6

7 8 9

50 ZILDJIAN DRUM SET METHOD

 OPEN HI-HAT SIZZLES – with 8TH NOTE RIDE PATTERN

When learning a new open hi-hat groove, it may be helpful to first isolate the feet, then add the right hand 8th
notes and finally add the left hand snare notes. After you’ve developed a consistent right hand ride pattern, try
leaving out the right hand on the closed hi-hat (playing a strong “chick” sound with the left foot).

OPEN HI-HAT ON UPBEATS

1 2 3

4 5 6

7 8 9

10 11 12

OPEN HI-HAT ON DOWNBEATS

1 2 3

4 5 6

7 8 9

ZILDJIAN DRUM SET METHOD 51

GROOVE LIBRARY
SYNCOPATED LEFT HAND SIXTEENTHS

On each of these grooves, play the GHOST NOTE as softly as possible along with a strong back beat. Try to
stop the backbeat close to the drum and play an up stroke on any ghost note that falls on the “e” of the beat.

1 2 3

4 5 6

7 8 9

10 11 12

SYNCOPATED LEFT HAND 16THS – WITH ACCENTS

These grooves use accents instead of ghost notes in the left hand to create a more syncopated feel.

1 2 3

4 5 6

7 8 9

52 ZILDJIAN DRUM SET METHOD

 SYNCOPATED BASS DRUM SIXTEENTHS

On each of these grooves, play the GHOST NOTE as softly as possible along with a strong back beat. Try to
stop the backbeat close to the drum and play an up stroke on any ghost note that falls on the “e” of the beat.

1 2 3

4 5 6

7 8 9

10 11 12

COMBINING LEFT HAND AND BASS DRUM SYNCOPATED 16THS

These grooves use accents instead of ghost notes in the left hand to create a more syncopated feel.

1 2 3

4 5 6

Being able to play these grooves with a great feel is MORE important than how many
variations you can learn. Be sure to spend some time working with the ELASTIC
SUBDIVISION METRONOME to develop a great feel for any musical situation.

ZILDJIAN DRUM SET METHOD 53

GROOVE LIBRARY
SIXTEENTH NOTE RIDE PATTERN – ONE-HANDED

Practice with both a consistent rebound stroke AND using the “push-pull” technique. For more grooves, you
can also play any of the 8th note grooves from the previous pages with the 16th note ride pattern.

1 2 3

4 5 6

7 8 9

10 11 12

WITH SYNCOPATED LEFT HAND

1 2 3

4 5 6

WITH 16TH HI-HAT SIZZLES

Practice the foot work on these grooves first, then add the ride pattern and finally the snare.

1 2 3

54 ZILDJIAN DRUM SET METHOD

 SIXTEENTH NOTE RIDE PATTERN – ALTERNATING HANDS

On each of these grooves, play the GHOST NOTE as softly as possible along with a strong back beat. Try to
stop the backbeat close to the drum and play an up stroke on any ghost note that falls on the “e” of the beat.

1 2 3

4 5 6

7 8 9

10 11 12

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ZILDJIAN DRUM SET METHOD 55