ii

INTRODUCTION
After years of warming up exclusively on a practice pad before tearing into my drums, I was struck by the grand realization that
playing the drum set involves a dramatically wider range of body motions, movements, and coordination than a drum pad. Of
course, there is no substitute for a drum pad warm-up, as it is the definitive way to focus on hand, wrist, and finger development.
But what about the arm and body motions involved in moving from drum to drum, hand to foot, or reaching for a cymbal some
distance away?
It was in this moment of realization that the idea for Drum Set Warm-Ups was born not to mention the fact that the drum set
is perhaps the only musical instrument on which warm-ups do not occur on the actual instrument itself. Imagine a guitarist or
keyboardist warming up exclusively on a slab of wood!
Consider this book a natural extension of your snare/pad warm-up book(s) and use it in much the same way. Pick a page and
play each exercise until it sounds and feels comfortable. String two or more examples together to create two-, four-, and eight-
bar phrases. Some exercises are straightforward and relatively easy to play, while others are quite challenging. So, if a particular
exercise is too difficult, move on to the next one and come back to the more difficult one at another time, or in the case of a
multi-limb exercise, leave off one of the parts (for example, a quarter-note bass drum or hi-hat foot part). It is not imperative to
go through the book in chronological page order, although it is suggested, initially, to go through the book this way.
Be more musical and less mechanical by varying the dynamic levels and tempos of the exercises. Most of the exercises are not
intended to be applied note for note as cool fills or beats. In fact, some may seem downright unusual or even unmusical. Rather,
they have been designed as drum set warm-ups to limber up the entire body (not just the wrists, hands, and fingers) and improve
specific areas of drum set playing such as speed, power, control, dexterity, coordination, independence, accuracy, endurance,
and agility.
These exercises were designed primarily as patterns of movement. Some will be immediately obvious, but with others, you
may have to play them for a while before the pattern reveals itself. By having the arms and body moving in clockwise, counter-
clockwise, up, down, side-to-side, crossover, cross-under, and crisscross motions, a greater facility and command of the drum
set will be achieved, along with a dramatic increase in confidence.
NOTATION KEY
These exercises are written for a standard 5-piece drum set, but with a little imagination they can be adapted to larger or smaller kits.
/
Bass
Drum
Snare
Drum
Cross-
Stick
Stick
Shot*
Large
Tom
Medium
Tom
Small
Tom
Hi-Hat Open
Hi-Hat
Hi-Hat
Pedal
Hi-Hat
Splash
Ride
Cymbal
Cymbal
Bell
Crash
Cymbal

f h



x x
o
x x
o
x X
x
R = Right Hand L = Left Hand R = Right-Hand Crossover L = Left-Hand Crossover B = Both Hands
* Strike left stick with right stick while left stick rests on drumhead in cross-stick position
SPECIFIC RUDIMENTS FOR DRUM SET
Listen to CD track 2, then play these from top to bottom at the same tempo. Remember
to choose a tempo that allows you to play the entire exercise at the same speed.
Some of the twenty-six rudiments are more applicable to a set of drums than
others. The following rudiments are among the most widely used on drum set.
They transfer to the drum set very naturally.
The rudiments on their own are similar to a pianists scales; making music with them
is all about how you use them, and your motion determines your sound. To really
understand the transition of rudiments to the drum set requires that you correctly
phrase the inner dynamics of the rudiment. The accents you see in this example
show you just one way to phrase the rudiments on drum set to make them sound
more musical. It is not so much what you play, but how you sound when you play.
x i

4
4
Paradiddle

>

>

>

>

R L R R L R L L R L R R L R L L
Inverted Paradiddle

>

>

>

>

>

>

>

>
R L L R L R R L R L L R L R R L

Paradiddle Diddle, Right Handed

6

>

6

>

6

>

*

>

R L R R L L R L R R L L R L R R L L R L R R
Paradiddle Diddle, Left Handed
6

>

6

>

6

>

*

>

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

Inverted Paradiddle

>

>

>

>

>

>

>

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

>

>

>

>

>

>

>

>
R L L R L L R L R L L R L L R L

Six-Stroke Roll
6

>

> 6

>

> 6

>

> 6

>

>
R L L R R L R L L R R L R L L R R L R L L R R L
6

>

>

6

>

>

6

>

>

6

>

>

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

Single Drag

>

>


>

>

>

>
R L L R L R R L R L L R L R R L R L L R L
Five-Stroke Roll

>

>

>

>

>

>
R R L L R L L R R L R R L L R L L R R L R R L L R L

Seven-Stroke Roll

>

>

>

>

R L L R R L L R L L R R L L R L L R R L L R L L R R L L
j

Flam Triplets (Swiss Army Triplets)

3

>

j

>

j

>

j

>

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

Flam Triplets, continued

>

j

>

j

>

j

>

j

>

j

>
L R R L L R R L L R R L L R R L L R R L L R
j

Flam Drags

>

j

>


j

>

j

>

j

>

j

>
L R L L R R L L R R L L R L R L L R L R L L R R
*The sixteenth note figures on beat 4 is a regular paradiddle sticking to enable you to switch hands to get the right sticking for the next figure.
2
SECTI ON 1
WARM-UP GROOVE
GROOVE 1. Paradiddle Warm-up for Drum Set
MOVE
This rst move is based on the paradiddle rudiment. The rst four bars of this
move make up a cadence that leads into the move. (A cadence is a drumming
term for a short drum phrase that is played at a transition point, as an intro to a
tune or as a ll.) This move will help you to recognize the inner dynamics in the
rudiments when played on the drum set.
First play this warm-up move as written, at a tempo that is comfortable for you.
Once you can play it perfectly from top to bottom, orchestrate the paradiddle on
the drum set. Play different parts of the paradiddle rudiment on different parts
of the drum setthe cowbell, the hi-hat, the ride cymbal, the toms, or any other
instrument that is part of your set. Your unique sound and style as a drum set
player is based on what instruments you choose and how you play them.
Play this move as written, and also try orchestrating it by substituting the snare
for the closed hi-hat.
1
First practice the
rudiment on its own, on
a single drum. Make
sure that you can play it
before trying to
orchestrate it on the
drum set.
RUDIMENT

R
L
L
R
R
L
R
L
6

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

R
L
L
R
R
L
L
R
R
L
L
R
R
L
R
L
p
Single Paradiddle Double Paradiddle Triple Paradiddle
2
3

4
4

>

>

>

>

>

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


J

>

>

>

>

>

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


J

>

>

>

>

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

>

>

>

> 6

>

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

.
.
.
.

.
.
.
.

>

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

>

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

LESSON
1
SUBJECT
One-Hand Sixteenths
TECHNI QUE
All strokes played with the same hand
1
/ 4
4
.
. 1
















L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 2
















L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 3
















L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 4




L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 5








L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 6
















L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 7
















L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 8












L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 9











L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 10
x


x




x


x




L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 11



x







x



L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 12
x







x







L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 13

X


x

X


x

L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 14
x

x x




x




L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
4
.
. 15
x

x
X
x

x

x

x
X
x

x
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
/ 4
3
.
. 16
x

x
x




x

x
x
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
A high level of accuracy can be achieved by focusing on one limb at a time. Play each exercise several times through with just the
right hand and then just the left hand. Strive for an even, consistent sound, and try to strike each drum in the center. Exercises
15 and 16 are especially challenging due to the long reach from the hi-hat to the ride cymbal.
LESSON
2
2
SUBJECT
Four Strokes Per Hand
TECHNI QUE
Hands alternate in groups of four notes
/ 4
4
.
. 1
















R R R R L L L L R R R R L L L L
/ 4
4
.
. 2
















L L L L R R R R L L L L R R R R
/ 4
4
.
. 3
















R R R R L L L L R R R R L L L L
/ 4
4
.
. 4
















R R R R L L L L R R R R L L L L
/ 4
4
.
. 5
















L L L L R R R R L L L L R R R R
/ 4
4
.
. 6
















R R R R L L L L R R R R L L L L
/ 4
4
.
. 7












R R R R L L L L R R R R L L L L
/ 4
4
.
. 8













L L L L R R R R L L L L R R R R
/ 4
4
.
. 9
















R R R R L L L L R R R R L L L L
/ 4
4
.
. 10
















R R R R L L L L R R R R L L L L
/ 4
4
.
. 11

R R R R L L L L R R R R L L L L
/ 4
4
.
. 12
















L L L L R R R R L L L L R R R R
/ 4
4
.
. 13

x

x





x

x



R R R R L L L L R R R R L L L L
/ 4
4
.
. 14
x
x

X
x


x
x

X
x


L L L L R R R R L L L L R R R R
/ 4
4
.
. 15
x

x x

x


x

x x

x

R R R R L L L L R R R R L L L L
/ 4
4
.
. 16
x

x x




x

x x



R R R R L L L L R R R R L L L L
In the following exercises, one hand either repeats what the other hand plays or moves in a mirror image.
LESSON
3
SUBJECT
Alternating Single Strokes
TECHNI QUE
Hands alternate throughout
3
/ 4
4
.
. 1








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 2








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 3








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 4








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 5








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 6







L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 7








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 8







L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 9








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 10








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 11








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 12







L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 13








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 14







L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 15








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
/ 4
4
.
. 16








L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
L
R
R
L
The following pages contain a variety of exercises played with alternating single strokes, with the hands moving in a variety of
directions (clockwise, counterclockwise, horizontal, vertical, crisscross, or combinations). Some of the exercises might sound
somewhat routine, but the idea is to force the hands, arms, and body to move in every possible direction to increase ones com-
mand of the drum set.
SECTI ON 2
SINGLE- AND DOUBLE-STROKES
Grooves 2 thru 6 will develop your ability to apply the rudiments to the drum set.
You will work on hand/foot independence by substituting hands for feet in parts
of the rudiments. These grooves will help you hear how rudiments t into drum
set playing.
GROOVE 2. Single-Stroke Roll
MOVE
In bar 2 of this move, the bass drum substitutes for the hands in completing a
part of the single-stroke roll rudiment. Play this move at a tempo that is comfort-
able. Then, orchestrate this single-stroke roll on the drum set. For example, play
the bass drum part with the hi-hat foot instead. Or, play the snare part on the
ride cymbal. Whichever instruments you choose, this move will give you practice
going back and forth between playing sixteenth notes and eighth-note triplets.
When going from eighth-note triplets to sextuplets, your hands continue to play
the exact same rhythm; the addition of the bass drum between the snare part
creates sixteenth-note triplets.
3
Practice each rudiment
on a single drum before
trying to orchestrate it
on the drum set.
RUDIMENT

R L R L
3

3

R L R L R L
4

4
4

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
















R L R L R L R L

.
.
3

3

3

3

R L R L R L R L R L R L
6

R L R L R L R L R L R L
Single-Stroke Roll Single-Stroke Roll, Triplets
GROOVE 3. Double-Stroke Roll
MOVE 1
This move illustrates a double-stroke roll played as a triplet subdivision. In this
move, youll play a triple structured roll on the snare drum, then orchestrate the
double right hand on the cymbal while playing doubles on the bass drum.
MOVE 2
The double-stroke roll moves the right hand between different parts of the drum
set. For this and all moves, rst play the phrase as written, then orchestrate it on
the drum set.
MOVE 3
This double-stroke roll moves the right hand between the rim of the oor tom
and the rim of the snare drum. The left hand moves between the hi-hat and the
rim of the snare drum.
4

4
4
.
.
3

3

3

3

x

R L L R R L L R R L L R
3
x

3
x

3

x

R L L R R L L R R L L R
RUDIMENT

R R L L
3

3

R R L L R R
5

4
4
.
.

>

>

>

>

R R L L R R L L

>

>

>

>

R R L L R R L L
j

R R L L R R L L R R


j

L L R R R
6

4
4
.
.
* x noteheads on the floor tom and snare should be played on the rims
j

x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
R R L L R R L L R R L L R R L L
.

.

x
x
x
x
x
x
x
x
x
x
x
x
x
x
x

R R L L R R L L R R L L R R L L
.

7
Double-Stroke Roll Double-Stroke Roll, Triplets
GROOVE 4. Single Paradiddle and Single-Stroke Six
MOVE
The bass drum plays the diddles. Go back and forth between sixteenth notes and
sixteenth-note triplets. Alternate the hands.
GROOVE 5. Four-Stroke Ruff
MOVE
In this four-stroke ruff, the left-hand part is played by the bass drum. The bass
drum changes between quarter notes and eighth notes. The speed at which you
can play the bass drum will determine the tempo.
5

4
4
.
.








R L L R R L L R
6



6



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Single Paradiddle Single-Stroke Sextuplets
Four-Stroke Ruff
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