Drum Lessons


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Drum Groove and Fill


Dave Elitch

Play R,L,F and L,R,F to very slowly to a metronome as 16th notes. This three over four feel will help you understand the rhythm.
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Toto - 'Mushanga'


Jeff Porcaro

Be aware of the dynamics Jeff uses to create this feel. Some drums are accented, others are tapped lightly.
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Linear-Type Beat


Vinnie Colaiuta

Practise cross-handed sticking between splashes and cymbals.
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Sneaky Shuffle Variation


Kev O'Shea

Time the drop of the stick to allow the ghostnote to land between the shuffle pattern. There is no need for much force here, simply timing.
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Solo Groove


John Blackwell

Try this on the practise pad first. Get comfortable with the right hand sticking as much of the bass drum pattern copies this.
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Linear Drum Fill 02


Kev O'Shea

Practise to a metronome at a slow tempo to ensure the cross-sticking is clean.
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Toto - 'Africa' Drum Beat


Jeff Porcaro

Play the bass drum hits on beat 1 & 3 slightly louder to create more of a bossa nova/samba feel.
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Moscow Groove


Eric Moore

Practise the first 8 notes of this pattern on a practise pad only. Use it in daily playing. Gradually introduce the bass drum hits.
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Kick Hat Snare 02


Kev O'Shea

Practise paradiddles with and without accents. Next try starting them on the offbeat.
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32nd Note Offbeat Groove


Chris Coleman

Work on the hi-hat pattern first. Next introduce bass drum. Introduce the snare when you can play steadily between hihat and bass drum.
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Ghostnote Groove


Vinnie Colaiuta

Practise pull-out accents on the snare hand. Watch for this accent on the second double of the shuffle.
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Foo Fighters "Rope" - Drum Break


Taylor Hawkins

Practise playing the bass drum with the crash cymbal on your weaker hand (See bar 3) @ 2mins 50.
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Quintuplets - Groups of 5


Kev O'Shea

More information is covered in my book 'Filling Time'.
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Paradiddle in 12/8


Ginger Baker

Play groups of 4 with the accent on the first beat. Play this pattern in 12/8 to hear the 3 over 4 feel. Then switch to paradiddles.
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Deep Purple - 'Fireball' Drum Intro


Ian Paice

Get the double bass pattern down first. You can play this with a slight swing to give the right feel.
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Triple Stroke Bass Drum Exercise


Kev O'Shea

Use the heel-toe method to play a double stroke. Add another toe stroke to complete the triple stroke.
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Filling Time - Chapter 2 (sample)


Kev O'Shea

Convert simple hand-to-hand patterns into advanced linear sticking patterns...
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Grammys Fill (transcribed)


Aaron Spears

Break down the fill into parts. Work on the hand and foot combinations separately first, then put it together and gradually increase the tempo.
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2 Cross Sticking Patterns


Eric Moore

Use a palm up technique to strike the floor tom, then palm down on the hihat.
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Linear Drumming Pattern


Aaron Spears

A good warm up exercise. Focus on clean strokes with good time at lower tempos. Accents can be alternated between hand and foot.
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Linear Drum Fill 01


Kev O'Shea

L,R,F triplet is the basis of this fill. Learn it and also, L,R,L,R,F.
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Street Beatz 03


Jojo Mayer

Jojo starts the beat with pull-out accents on the snare hand. Start at a slow tempo and aim for accuracy and good dynamics.
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Buddy Rich Sixes


Buddy Rich

This is a six stroke pattern in triplets using the ride cymbal, snare and bass drum. You can play this pattern starting on any of the six notes.
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Linear Drum Beat


Ilan Rubin

Learn the R,L,F and L,R,F combinations slowly and lightly with an emphasis on moving from the forearm/elbow.
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Drum Solo Triplets


Buddy Rich

Blistering singles and doubles between the hands and feet in a triplet pattern.
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Kick Hat Snare 08


Kev O'Shea

Practise the 'closed' roll on the edge of the snare. See how many times you can get the stick to bounce on each hand. Then increase the tempo.
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Kick Hat Snare 05


Kev O'Shea

Practise the 6 stroke roll: R,L,R,R,L,L. Next play it in groups of three as triplets.
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Insane 4-way Co-ordination


Thomas Lang

Try playing the left side ostinato without doubles as a 16th note pattern, to begin with...
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Syncopated Groove


Keith Carlock

Master the Swiss Army Tap to allow you to play syncopated patterns like this one.
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Guitar Center Solo


Ilan Rubin

Learning the R,L,R,F combination is key to playing this pattern.
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Halftime Groove & Fill


Dave Weckl

Play with a metronome set to a low tempo and count in 16ths.
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12/8 Groove


Aaron Spears

Count this out at slow tempos in order to get comfortable with the 12/8 feel. Count every second 8th whilst playing to improve timing.
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Drum Solo Excerpt


Steve Gadd

Pay attention to Steve's masterful use of dynamics and timing...
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Red Hot Chili Peppers - 'Dani California' Intro


Chad Smith

Work on one-handed ruffs, bass drum double-strokes and, of course, timing and feel...
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3 Pedals 2 Feet


Benny Greb

A Dennis Chambers-inspired 'fat foot' technique which involves playing the hihat and slave bass pedal together.
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Rudimental Warm Up


Gavin Harrison

Use fingers to help with the left hand triple strokes. Use bounce for the quick ruffs.
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'Immigrant Song' Drum Beat


John Bonham

Practise the bass drum double separately then introduce the hands.
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Linear Swing Fill


Gavin Harrison

Practise triplets of R,L,F and L,R,F in time to a metronome. Then shift from hand to hand singles and back to the linear triplets.
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Kick Hat Snare 06


Kev O'Shea

Practise a roll between hand and foot. F,R,F,R etc. This will help with the start of this beat.
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Playing Across The Bar Line


Pablo Gonzales

Use a metronome to keep the count while you experiment with playing over the bar line.
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Kick Hat Snare 03


Kev O'Shea

The L,F,R triplet is key to learning this beat. Practise it in 12/8.
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Kick Hat Snare 07


Kev O'Shea

You can change the pitch of the hihat bell by applying some pressure to the pedal. Find the sound you like best.
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Linear Drum Fill 03


Kev O'Shea

Play this fill without the double strokes on the bass drum initially to get a sense of the rhythm.
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Nirvana - 'Scentless Apprentice' Intro


Dave Grohl

Focus on the hand pattern in order to execute the flam comfortably. Heel-up will mean more volume.
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Halftime Groove


Chad Smith

Work on the 16th patterns in bar 3 between hand and foot separately. Be careful to play the ghostnotes lightly.
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"Rock And Roll" end solo


John Bonham

R,L,F is a signature Bonham triplet. Move it around the kit.
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Songo-inspired halftime


Kev O'Shea

Play R,L,F,L with accents in different places. Keep right hand on Hihat and left hand on the snare.
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Street Beatz 02


Jojo Mayer

Work on good dynamics between snare ghostnotes and accents.
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'50 Ways To Leave Your Lover' - Drum Intro


Steve Gadd

Practise linear patterns between hands and hihat pedal.
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The Bonhadiddle (Moby Dick)


John Bonham

Happens around the 2 minute mark. Swap the double 'L' in a regular paradiddle for 2 bass drum strokes.
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Alternating Linear Fill


Kev O'Shea

Play the linear pattern without accents. Next accent every third note, alternating between hand and foot. Switch hands.
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Street Beatz 01


Jojo Mayer

Practice linear patterns between snare, hihat and kick in 4/4. RLF, LRF etc.
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Walk This Way - Drum Intro


Joey Kramer

Timing the bass drum with the open hihat bark is the key to nailing this beat.
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32nd Note Inverted Doubles


Kev O'Shea

With inverted doubles the pulse will be felt on the second stroke. Practise at low tempos to begin with.
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U2 - 'Sunday Bloody Sunday' Drum Intro


Larry Mullen Jr.

Try to play each drum at the same dynamic level to create the marching feel of this song.
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32nd Note Fill


Chris Coleman

Work on the basic 6 note pattern between the hands and feet (RLRLFF).
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Manky Beat


Kev O'Shea

A manky sounding linear pattern played open-handed between hihat, snare and floor tom.
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Kick Hat Snare 04


Kev O'Shea

Practise the inverted single paradiddle: R,L,L,R,L,R,R,L with and without accents on the first beat of each 4 notes.
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Sting - Seven Days (basic pattern)


Vinnie Colaiuta

A hypnotic pattern in 5 which sounds easier than it really is.
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7/8 Groove


Tony Royster Jr.

Use a metronome at a low tempo to memorise the intricate rhythms before you attempt them at full speed.
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Doubling Up


Kev O'Shea

You may need to experiment with different bass pedal settings to find the right spring tension for you.
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Kick Hat Snare 01


Kev O'Shea

First get comfortable with F,R,L,F,R,L,R,L (whilst accenting the last 'L'). There rest is a variation on a basic paradiddle.
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Unison Fill


Kev O'Shea

Practise moving from flams to unison and back again to improve accuracy. This example is mostly finger work.
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