Drum Score / Instruction DTX 402 SERIES
How to Play with Songs 《 Introduction 》 There are many different musical genres and rhythm styles throughout the world. We have selected ten songs for the DTX 402 Series from mainstream genres and techniques to help hone your drumming skills. Even beginning drummers will easily be able to build their chops by following along with the sequence charts presented below. Those able to read music are welcome to try out each song using the drum score as well.
《 How to Practice with the Sequence Charts 》 1. Look at the numbering in order from the beginning, check which instrument is to be struck, and build the pattern. A stroke is indicated by a black dot (●). When building the pattern, there is no need to match the tempo of the song. Start out slowly.
Drumming Fundamentals Holding the Sticks Step 2 《 Where to hold the sticks 》 1/3 1/4 Use the remaining three fingers to lightly support the stick. Gripping tightly with these three fingers will cause the following problems: ･ Tiring out while playing ･ Stick not rebounding off the drum, ruining the sound ･ Striking from the arm without using the wrist Ideally there should be a bit of space between the stick and the palm without trying too hard.
Right When doing so, make sure that the sticks and forearms are in line. Then lower the arms so that the tips of the sticks are above the center of the drum head. Wrong 《 Ready position 》 Getting Ready to Play 《 Form 》 Hold the sticks in an upside-down V shape. ･ When the tips of the sticks are above the center of the head, let the sticks hover 2-3 cm above the head. This basic position is called the ”ready position.
Sitting on the Throne Adjust the position of the throne so that your right foot is pointed straight at the bass drum when seated. Keep a relaxed posture without sitting too far back; your center of gravity should be over the middle of the seat. Foot Position 《 Positioning your foot on the bass drum pedal 》 For heel-up technique, place your foot so that the tips of your toes are a little lower than the top of the pedal. Stepping on the Pedals There are two basic techniques for stepping on the pedals.
TIPS 《 Ride cymbal 》 When using the same heel-up technique, there is also a style of playing called “open sound” which keeps the beater from resting on the drum head. However, it is hard to keep your balance playing in this difficult style, so we will not go into it here. Playing the Cymbals 《 Hi-hat 》 ･ Position your right hand to play the ride cymbal and your left hand to play the snare. ･ The cymbal should be set up so that the striking surface is at the same angle as the stick when playing this way.
Name of each part of the drum & Notation 《 Name of each part of the drum 》 High tom (Tom1) Mid tom (Tom2) Crash cymbal Ride cymbal Hi-hat cymbal Low tom (Tom3) Snare drum Crash cymbal Bass drum High tom Mid tom Ride cymbal Hi-hat cymbal Low tom Snare drum 8 Bass drum
《 Notation 》 Name of each part of the stick Tip Shoulder Grip Grip end 9
SCORE 01 Tempo : 114 Feel : 8th Note // POP 1 // 10
《 Lesson phrases 》 SCORE 01 11
This is the most basic rhythm pattern of the 8th Note Feel. When working on drum phrases, start by practicing the basic pattern for that song. This song uses rhythm SCORE 01 patterns based on 8th notes, so the numbering ranges from 1 to 8.
①Stick Control (Basic 16th Note) SCORE 01 Alternating between R (right hand) and L (left hand). Count Right hand (snare) 1 e ● & ● ● Left hand (snare) a ● • Make sure that your stick height (how high you raise your stick during the stroke) is the same for both hands. • Practice repeatedly with a metronome. • First practice right hand/left hand, and once you get the hang of it add in the right foot and maintain a quarter note rhythm.
③Stick Control (16th Note variation) SCORE 01 Count Right hand (snare) 1 e ● Left hand (snare) & a ● × ● • This does not have the second beat from ① . • Practice repeatedly with a metronome until you are able to maintain the rhythm. • Repeating this phrase gives you the hi-hat rhythm from Rehearsal Mark A in POP2 (page 16). • Playing ② and ③ in succession gives you the fill for the 3rd and 4th beat in the 4th bar of Rehearsal Mark A.
《 Fill #2 (Hand/foot combinations) 》 SCORE Fills can be performed with just handwork (both hands) or by adding in footwork 01 (both feet). A phrase that uses both hands and feet is called a hand/foot combination.
SCORE 02 Tempo : 112 Feel : 8th Note // POP 2 // 16
《 Lesson phrases 》 SCORE 02 17
《 Rhythm Patterns 》 SCORE This rhythm pattern uses a fill from POP1 (Stick Control ③ , page 14). 02 Rehearsal Mark A Numbering 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Count 1 e & a 2 e & a 3 e Right hand (hi-hat) ● ● (SD) ● Left hand (hi-hat) Right foot (bass drum) ● ● ● ● & 4 e ● ● ● ● a & ● (SD) ● ● a ● ● • The right hand switches to the snare at 5 and 13. Make sure you keep in time with the bass drum.
《 Fill 》 SCORE Rehearsal Mark B 8th bar 02 ④Stick Control (16th note variation) Count Right hand (snare) 1 e ● & × ● Left hand (snare) a ● • This phrase does not have the 3rd beat from Stick Control ① (page 13) • Practice repeatedly with a metronome until you are able to maintain the rhythm. ⑤Stick Control (16th note variation) Count Right hand (snare) Left hand (snare) 1 e × & a ● ● × • This phrase does not have the 1st or 4th beats from Stick Control ① (page 13).
SCORE 03 Tempo : 90 Feel : 8th Note // ROCK 1 // 20
《 Lesson phrases 》 SCORE 03 21
《 Rhythm Patterns 》 SCORE The hi-hat uses 8th note rhythm patterns but the bass drum has a 16th note feel.
《 Rhythmic Articulation 》 SCORE Rhythmic articulation refers to effectively adding variations of musical phrasing to 03 add color when a rhythm starts to become monotonous. Examples of this can be found in the 4th bar of Rehearsal Mark A and the 8th Bar of Rehearsal Mark B. We will introduce rhythmic articulation here using tied rhythm, which means connecting two notes of the same pitch.
SCORE 04 Tempo : 146 Feel : 8th Note // ROCK 2 // 24
《 Lesson phrases 》 SCORE 04 25
This song uses the rhythm pattern called the shuffle. The basic pattern of the shuffle is formed by removing the middle (second beat) of a triplet. SCORE 04 In this song the right hand uses a quarter note shuffle. The main point here is to play the bass drum with a triplet feel.
《 Fill 》 SCORE ⑥Stick Control (Triplets) 04 Numbering 1 2 3 4 5 6 Count 1 & a 2 & a Right hand (snare) ● ● ● Left hand (snare) ● ● ● • Triplets use alternate sticking. • Odd beats (1 and 3) are played with the right hand and even beats (2 and 4) are played with the left. • Practice while keeping a quarter note rhythm with the right foot.
SCORE 05 28 // METAL // Tempo : 110 Feel : 8th Note
《 Lesson phrases 》 SCORE 05 29
Play this song with a double stroke on the foot. A double stroke refers to striking the drum twice in a single motion. This song uses a continuous double stroke on the SCORE 05 bass drum, which is also called double kick or double action.
MEMO SCORE 05 31
SCORE 06 Tempo : 120 Feel : 8th Note // FUNK // 32
《 Lesson phrases 》 SCORE 06 33
《 Rhythm Patterns 》 SCORE 06 Rehearsal Mark A Numbering 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Count 1 e & a 2 e & a 3 e Right hand (hi-hat) ● ● ● ● a ● ● 4 e ● ● Left hand (snare) Right foot (bass drum) ● & & a ● ● ● ● ● ● • The timing can easily slip at the following two points if the right hand ends up matching the foot, so focus your attention on these two points.
《 Rhythmic Articulation 》 SCORE This song uses the rhythmic articulation known as “group of three.” Since rhythmic 06 articulation means a set rhythm within a tune, the performer generally matches that rhythm. In this song the 8th notes are divided up into groups of three, using the rhythmic articulation described by the score below.
SCORE 07 Tempo : 130 Feel : 8th Note // HIP HOP // 36
《 Lesson phrases 》 SCORE 07 37
《 Rhythm Patterns 》 SCORE Practice with a metronome so you don’t lose the tempo. 07 Rehearsal Mark A 1st Bar Numbering 1 2 3 4 5 6 7 8 Count 1 & 2 & 3 & 4 & Right hand (ride) ● ● ● Left hand (snare) Right foot (bass drum) ● ● Rehearsal Mark A 2nd Bar Numbering 1 2 3 4 5 6 7 8 Count 1 & 2 & 3 & 4 & Right hand (ride) ● ● ● Left hand (snare) ● (●) ● ● Right foot (bass drum) The right foot at 8 is in the 4th bar of Rehearsal Mark A.
Rehearsal Mark B 2nd Bar Numbering 1 2 3 4 5 6 7 8 Count 1 & 2 & 3 & 4 & Left hand (snare) ● ● ● ● ● ● ● ● ● ● ● Right foot (bass drum) ● ● Right hand (hi-hat) SCORE 07 (tom1) (tom2) ● ● At 6 and 7, the left hand switches from tom 1 to tom 2. 《 Fill 》 The score below shows 16th notes divided up into threes. This 16th-note group of three (page 35) is one kind of rhythm often used for rhythmic articulation within a tune.
SCORE 08 Tempo : 124 Feel : 8th Note // EDM // 40
《 Lesson phrases 》 SCORE 08 41
EDM is short for Electronic Dance Music. SCORE 08 《 Rhythm Pattern 》 The hi-hat plays 8th-notes as back beats.
⑨Stick Control (16th note variation) SCORE 08 Count Right hand (snare) 1 e × & × ● Left hand (snare) a ● This phrase leaves out the 1st and 3rd beat from ① (page 13) ⑩Stick Control (16th note variation) Count Right hand (snare) Left hand (snare) 1 e × & a × ● × This phrase uses only the 2nd beat from ① (page 13) 43
SCORE 09 44 // JAZZ // Tempo : 132 Feel : 8th Note
《 Lesson phrases 》 SCORE 09 45
This song uses two basic swing patterns. Swing resembles shuffle, but the differences can be seen in the score below. SCORE 09 《 Rhythm Patterns 》 Rehearsal Mark A Numbering 1 2 3 4 5 6 7 8 9 10 11 12 Count 1 & a 2 & a 3 & a 4 Right hand (hi-hat) ● ● ● ● ● ● Left foot (hi-hat close) & a ● ● The main point when playing this rhythm pattern is the left foot at 4 and 10.
《 Fill 》 SCORE Refer to Stick Control (Triplets) ⑥ (page 27). 09 There is some degree of difficulty but keep the triplet timing tight when practicing.
SCORE 10 Tempo : 90 Feel : 8th Note // LATIN // 48
《 Lesson phrases 》 SCORE 10 49
This song is an example of the Latin music genre known as salsa. Each drum pad is set to a percussion sound instead of a drum sound.
Author Profile Keiichi Nagata Born in 1960 in Yokohama Inspired by Buddy Rich, began learning drums at 10, studying under Yasunobu Kaneko. Joined “The SQUARE” at age 19, and began work as a professional drummer. Thereafter he supported a number of different artists, including Takao Kisugi, Masaki Ueda, Marine, and Salena Jones (Japan performances). As a member of the teaching staff at the Yamaha Music Foundation, responsible for teacher training and textbook development.
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