The UnReel Drum Booh
8y Mort Atkinson
Transcriptions and
Exercises From the
Randy Waldman
Recording UnReel

Drums Performed
by Vinnie Colaiuta
WARNER BROS. PUBLICATIONS
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The UnReel Drum Booh
By More Atkinjon
Randy Waldman
Recording UnReel
Drums Performed
by Vinnie Colaiuta
Music EngnatfHj
Marc Atkinson
	UnReeJ Миж Copyist
Brian Benison
	Photography
Of Vtnnie Colaiuta: Marc Atkinson. Randy Waldman. Ussa Wales
Of Marc Atkinson: Mark Young
Of Randy Waldman: Alex Calder, Jimmy Howell, Angola Anderson
	Cover and Book Design and Layout
Dancing Planet' Media Works*
	Edited by
Ed Uribe and Ray Brych
	Additional Editing
Nadina DeMarco; Wisdom Enterprises. Dom Famularo, Joe Borgamim
	Randy Waldman Un Rael CD Recording
Concord Jazz Records
	Audio Examples CD Recording and MIDI Sequencing and Programming
Marc Atkinson
	Audio Examples CD Editing, Mixing, and Mastering
Dancing Planet1 Media Works'. CresskiU, New Jersey
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Randy Waldman, Mane Atr'nson. andVmmr CaJaiuta durmg the producer) cf ihr UnReel project
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ОаМш
I sincerely dedicate this book to the people who struggled on a daily basis to help
me make it happen: Dan Bodams. my teacher and constant inspiration for always
achieving the very best, to Ron and Hilda Atkinson (or always being there (or me.
and to Andrea, Alexandra, and Cole for their constant support and love,
—’More AtWnson
/MarcAtkrnson working out the rhythms
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Randy WaJd/nan
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Table oj (ontenfrand Audio (It
% %
T*
Acknowledgments
Foreword__________
About This Book
The Contributors _
Marc Atkinson ..
Randy Waldman
Vinnie Colaiuta..
Introdu ctl on ___
Notation Key _____
Audio Track'
Hand Exercises........
Single Stroke Workout
Additional Workout Suggestions
Double Stroke Workout
Additional Workout Suggestions
Flam Workout,......^..«►...... ь...
Rhythm Scale Exercises ........
Foot Ostinatos.................
Rhythm Scale Over One Beat ....
Rhythm Scale Over Two Beats...,.
Rhythm Scale Over Four Beats ....
Phrasing Routines.............
Rhythm Scale: Double Strokes ...
Rhythm Scale: Paradiddle......1
Rhythm Scale: Flam Accent.......
Accenting the Rhythm Scale: Sixteenthsote Rate .........
Accenting the Rhythm Scale: Triplet Rate
Rhythm Scale With Feet .........  .............  *.....
Basic Groove Ostinato Moving Through the Rhythm Scale .
Introduction to Solos 
The Jetsens ____________
Jetsons Solo ...
Jetsons Breakdown ..
My Favorite Things ____
Favorite Things Solo
Favorite Things Breakdown.
Leave It to Beaver___________
Leave It to Beaver Solo .......
Leave It to Beaver Breakdown
BdftJHai _______________________
ВаЦ. Hai Intra Solo ........
Bolltyji Intro Solo Breakdown
Bali Hdfcolo................
Bali Hai Solo Breakdown....,^..
____9
11
12
—13
,w13
...15
..„17
_ 19
_21
_22
.22
...23
...24
...25
.27
...28
...30
...31
...32
....34
.36
...39
....40
....42
....44
46
....49
...52
54
57
58
61
62
64
68
70
74
77
80
82
85
88
90
92
7, 4, 6, 5
3
8
5
6

10. 11
12
,.27-Play-along
13
.15, %.
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Hawaii Five-0 __________
Hawaii Five-0 Intra Sola .
Hawaii AveO Outro Solo
Hawaii Five-0 Solo Breakdown
Am eridif^_________
America Intro Solo
AmericaSolo
America Solo Breakdown ...
Monnin ___________________
Monnin Solo.........
Monnin Solo Breakdown —
Ben Casey ________________
Ben Casey Solo
Bon Casey Solo Breakdown
Working Out Polyrhythms
Five Against Four
S(№en Against Four
Against Four
Audio CD, MIDI, Play-Along Index
Waldman LfrtReel CD Info
99
104
106
108
109
114
.118
.120
U4
.127
.129
130
134
137
139
139
140
140
141
142
143
*..<-..♦*17) 18
^*.19, 20
28-Play-along
25, 26
Audio CDLUnReel by Rondy Waldman (6)
The Jetsons 58
My Favorite Things _________________________________64.......  2
Leave It to Beaver_________jk_______________________74	...3
%>liHoi	82...^.....4
Schindlers List (Not presented in this ------------  -.......*2^
HowdftjHvfr’O ____________________2^________________99.........
America^	109.........7
Mannix <"<r 124	 8
Ben Casey 130..................................................9
Raider's March (Not presented in this book)	10
Forrest Gump (Not presented in this book)	.... ..........11
Maniac (Not presented in this book) ........................  12
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Acknowledgments
Thank you to the many musicians and friends who have helped make this project a reality
Ray Brych. David Hakim. Mike Finkelstein, Ed Uribe. Dom Famularo. joe Bcrgamrni.
Andrea McColeman. Mark “Doc" Young, Russell Schmidt, Roby Turner, David and Marilyn
Romaro, Janet Anthony. Jim Bettencourt. Mike Genovese. Greg Edgar. Gary Chaffee, Mike
Mangini and his Rhythm Knowledge system, Dave Rundle and Headhunters Drumsticks,
Bruce Witter. Steve Ross, Randall Walker. Steve Lucas. Colin Stewart. Debbie Galgani,
Angela Anderson, and Lee Pepper.
And. of course, the very best Randy Waldman. John Patitucci, and Vinnie Colaiura.
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The UnReel Drum Book
V/nme dunn? the reccing of the Ur.Reel CD
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The UnReel Drum Book
Foreword
By Dan Bodanis
With tins drum book you now bold in your hands, Marc Atkinson has discovered a
great way to share the hidden secrets of drumset master Vinnie Colaiuta. If any per-
son deserved the title of best drummer, in almost any category, it would be Vmnie. From
playing with Frank Zappa and Sting, to recording every track on the UnReeJ CD on the first
take, Vinnie is the undisputed heavy-weight champion of the drumset!
Marc is a very dedicated student of polyrhythms, metric modulation, phrasing over the bar
line, and. of course,Vmnie s drumming. As a matter of fact, he has accurately transcribed
more chan 350 tracks of Vinnies drumming I have had the pleasure of witnessing first-hand
how Marc takes these concepts, reinvents them, and then applies them musically The great
thing about Marc s accomplishments with his playing, teaching, this book, and all of his previ-
ous work is his ability to communicate very complex ideas in relatively simple terms.
Don't get me wrong, this book will not be easy to master. No doubt you will spend huge
amounts of time working on each transcription, but that is not the end. it is |ust the begin-
ning I encourage you to take this book and make it your own.What I mean is this: Upon
mastering each transcription, go back over the material and change it Think through and
apply different sticking patterns, tom-voicing, and foot patterns. If a fill that sounds really cool
starts on the first beat of die bar and ends on the first beat of the next bar, experiment with
displacing or moving the fill over by half a beat In other words, start the fill on the “and" of
beat I and end on the “and" of beat I of the next bar Use dynamics. One of the best ways to
evoke an emotional response in a listener is to exaggerate dynamics.
Don’t be satisfied ря “playing through” this book. If you are sincerely interested in develop-
ing your drumming to your highest potential, while mastering the concepts that Marc
shares, push yourseH to think beyond the limits of this material! It is then and only then that
you will begin to truly develop your own unique voice as a drumset artist.
I wish you success beyond chat which you wish upon yourself!

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The UnReel Drum Book
About This Booh
Thrs book can be broken down into
four sections. The first section is a
warm-up and technique section that
includes the single stroke, double stroke,
and flam workouts. It is not necessary to
understand this section entirely to work
with the rest of the book. Th is section is
meant primarily to emphasize and a»d in
developing the Moeller technique, which is
an option when playing the solos up to
speed. For further study of this technique, I
recommend Dom Famularo’s book Jt s Your
Move and Jim Chapin s video Speed, Power,
Control, Endurance, which give detailed Instruction on how to learn the Moeller technique
The second sccuon is the Rhythm Scale Workouts with different approaches and challenges
offered in learning and applying these rhythms. It is extremely important that the student
have a full understanding of these scales, as well as facility playing them in some of the ways
outlined, before looking at the transcriptions. If you do not understand and cannot play the
Rhythm Scale Over One Beat section, I highly recommend learning this before trying to play
the solos ar the end of the book.They will not only aid you in your quest to understand one
of today s greatest drummers but will also add a dimension to your playing and understand-
ing of rhythm, which is becoming more and more prominent in much of the music played
today and will be in the future. After becoming well acquainted with this part of the book,
rhe learning curve for the third section, which is the transcriptions themselves, will be dras-
tically reduced.
Complementing rhe transcriptions are the actual charts used on the LFnReef session.These
not only offer great insight Into how Vinnie interpreted the musk: but can also aid in your
study of chart reading,The final section of the book is the breakdowns of each solo.These
are included as an aid in actually playing the solos, with stickings, and building block exercis-
es to some of the more complicated rhythms. In some cases they are an extension to the
rhythm scale.This section is also very interpretive, and I recommend that where possible
you devise your own way of working out the solos with the breakdowns as a guideline. It is
my hope to bring you closer to understanding advanced rhythms and phrasing concepts as
they are applied by one of the greatest drummers of the twentieth century.Vinnie Colaiuta.
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The UnReef Drum Book
ШContributors
Mort Atta
Marc Atkinson was born and raised in Toronto. Canada. where at the age of 15 he began
to study drums with Dan Bodan is. After two years of study, he worked around the
Toronto area with the help of Dan and his high school music tcacher/’l was very lucky to
have the help, support, and motivation of my drumset and general music teachers.” says Marc.
Marc then went on to Berklee College of Music in Boston. Massachusetts, on a scholarship.
Upon moving to Boston. Marc studied privately with Gary Chaffee From Boston. Marc went
on to work on cruise ships out of Miami, Florida, until 1997, when he moved to Las Vegas
and began freelancing. He has since toured and recorded with numerous artists including
Wayne Newton, Jessica Simpson. Neal McCoy, David Foster. Backstreet Boys, Drew Carey.
Ruth Pointer, and Quincy Jones, He has also appeared on "The Craig Kilbome Show”
“EntercainmentTonlghtr”E! Network Hollywood” the Frank Sinatra Celebrity Golf
Tournament, and “The Tonight Show’* with Jay Leno.
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The UnReel Drum Book
The green composer, arranger, and pianist Atfie working rn hrs studio with Randy Waidman
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The UnReel Drum Book
RondyWildmin
At the age of five. Randy’s future was already set in stone. While
all the other children his age were out playing baseball, run-
ning around, and doing what kids do at that age, Randy was sitting
at the piano.
At the age of 12. Randy was hired for his first professional job,
demonstrating pianos at a music stone, and from there he was
hired to play at parties and accompany singers.
As a junior in high school, Randy was already a very busy musician,
playing for shows. backing up singers, and playing all types of musi-
cal jobs,At that point he cold his parents he wanted to quit high
school because rt was taking up too much time and getting in the
way of his career.
After much bargaining, his parents made a deal with Randy, his high school principal, and rhe
head of music at Northwestern University. If Northwestern would let Randy play in their
college jazz band for the next year, Randy agreed to finish high school.
After finishing high school at the age of 2 I. he was hired to go on tour as the pianist for
Frank Sinatra. Not a bad first gig* Shortly after that, Randy was hired to tour with the
Lettermen, which brought Randy out to the West Coast
Within one year of moving to Los Angeles. Randy was hired to tour with various artists,
starting with Minnie Ripperton. then Lou Rawls, Paul Anka, O,C Smith, and then George
Benson. Randy toured with Benson for seven years as his pianist conductor, and arranger.
The word started to spread about Randy on the LA studio scene, and he was beginning to
get more and more calls to do recording session work on various records and movie
soundtracks. What followed were ten years of nonstop session work, doing records, movies.
TV, jingles, songwriting, and arranging
Some artists whose records Randy’s talents can be heard on are Barbra Streisand, Celine
Dion. Michael Bolton, Madonna.Whitney Houston. Vanessa Williams, Patti LaBelle. Michael
Jackson, and many others Motion picture soundtracks he has performed on are Forrest
Gump. Who Framed Roger Rabbrt. Hoffb, Bock to the Future. The Bodyguard. Father of the Bride.
and Beet/ejuice.
Randy became a regular on all of Barbra Streisand’s recordings. He co-arranged (and pen
formed on) die Streisand hit song '‘Somewhere.’’ which won a Grammy for best arrange-
ment. His work was also nominated for Best Vocal Arrangement for a song he co-wrote for
the Manhattan Transfer Randy was voted Most Valuable Player by NARAS during this time,
and he received this nomination three other times.
Lately, Randy has been wearing the producer hat. working with Johnny Mathis, Bobby
Caldwell, Patti LaBelle, Kenny G. the Stylistics. Mary Wilson, and others. He has done numer-
ous orchestra arrangements for Whitney Houston, Gladys Knight. Nancy Wilson,Teddy
Riley, the team of Jimmy Jam/Terry Lewis, and many others.
In addition, Randy has recorded three of his own CDs. Wigged Out. UnReel. which inspired
this book. and. most recently, Tirrnng Is Everything.
Visit www.pzzpilot.com for more information
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is
The UnReel Drum Book
Илте perfb/TDing of NAMM 2003
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The UnReel Drum Book
Vinnie (olaiu to
One of the most Influential drummers of all time.Vinme Colaiuu took the world by
storm in the late 1970s with his work with the late, great Frank Zappa and has never
looked back.
Born and raised in Brownsville, Pennsylvania.Vinnie began drum lessons at the age of 14
While enrolling in drum corps, he started to work with local bands until he finished high
school, In 1974 he attended Berkiee College of Music where he began studying with Gary
Chaffee. He stayed at Berkiee for two years, during which time he hooked up with Al
Cooper and toured and recorded with him. In 1978 Vinnie left Boston far Los Angeles
where he started to play with Tom Fowler.Tom informed him that Frank Zappa was audi-
tioning drummers, and from there Vinnie began his two-year musical relationship with
Zappa. During this period.Vinnie recorded the now classic albums Joes Garage. Shut Up rnr
Play Yer Gurrar. and Tinsel Town Rebellion.
In 1981 Vinnie left Zappa and. with recommendations from Neil Stubenhaus and Jeff
Porcaro, began his illustrious studio career that involved playing with Joni Mitchell, Pages.
Gino Vannelli,Tom Scott, Eric Marienthal. Chick Corea. Bill Evans, John Paritucci, and Alan
Holdsworth, as well as countless TV contracts and movie scores.
In 1990 Vinnie left Los Angeles to audition for Sting in London. England He recorded and
toured with Sting for the next eight years, during which time he played on Sting’s Ten
Summoner’s Tales. Mercury Fafbng, and the Soul Cages live video. It was also during this time
that he recorded his self-titled debut solo album.
In 1997 Vinnie recorded Bandy Waldmans first solo album entitled Wagged Out and the
follow up CD UnReel,
After leaving Sting in l998,Vinnie moved back to Los Angeles, where he now resides and has
become the most in-demand studio drummer He continues to tour and record with many
artists including Faith Hill. Kimo Williams, Karizma.Jack Russell, SheDaisy. Joe Nichols,Jennifer
Paige. Laura Pausini, LeAnn Rimes, Lee Ritenour.Take 6, Lee Ann Womack. Mike Stern. Robben
Ford, Quincy Jones, and Marcus Miller. Vinnie’s recording credits are too numerous to list,
encompassing literally thousands of album recordings and many DVDs and videos.
Vinnies work on Randy Waldman’s UnReel CD captures his brilliance in a unique recording
session for you to listen to and study over and over again.
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The UnReel Drum Book
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The UnReel Drum Book
Introduction
The concept of the UnRed recording was to bring my favorite musicians together and
have them play the the most tricky, fun, and challenging arrangements I could come up
with. The goal was co have a great time and feature the virtuosity of these great players As
you will hear, they far exceeded my greatest expectations, as usual!
When Marc Atkinson first approached me and explained that he had transcribed all of
Vinnie Colaiuta's drum solos from this recording, I thought he must be either crazy, a genius,
or someone with way coo much time on his hands.
Vinnie is the master of extremely complex polyrhythms, beat displacement, and all-around
unfathomable rhythmic inventiveness.Trying to capture his playing on paper is a frightening
thought and close to impossible. Marc has done it with amazing accuracy and great attention
to detail.
Even chough the solos represented in this book are rhythmically technical and very
advanced, Marc has broken down the elements of the material to the most basic level with
simple exercises and explanations. He shows you how to take it one step at a time, enabling
anyone with basic musical training and the ability to read music to learn and incorporate
these techniques into his or her own playing.
Start slow, be patient, have fun, and practice.
A special thanks to Brian Beni son (copyist for my charts к Warner Bros. Publications, and
Dan Bodanis. Enjoy!
Spencer questions VMirwe on his interpretation of (he лйле-note groupings over the 7/S bar
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The UnReel Drum Book
Wnnie during the recording of the Un Reel CD
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The UnReel Drum Book
dotation Key
Tom 2
Tom 4
4
Crash Cymbal

Sweep Snare
With Brush
Open Hi Hat Foot
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The UnReel Drum Book
Preliminary [xerdses
Inrudurbon
The following exercises are simple technique warm-ups designed to work on speed and
endurance.They deal with the single, double, and flam strokes, which are the basis of any
stroke combination you will ever play It is therefore important to have great facility in these
three strokes, and these warm-up exercises will greatly improve that,
Practice these exercises with both your hands and your feet at slow tempos until you get
familiar with them
Hand Exercises
The first set of exercises consists of various hand exercises to help you develop good
technique with regard to stroke type, evenness of sound, stick height in your strokes,
accents, and the like,
Follow the instructions and suggestions given with each exercise
Vinnie working on hii stuff
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The UnReel Drum Book
Single Stroke Worhoul
Olay the following exercises using alternating strokes starting first with the right hand. Play
I through the exercise, repeating each bar four times; then move to the next bar without
2,
stopping, Use a variety of tempos, but always maintain an evenness of stroke and stack
height Use one stick height for the unaccented strokes and another for the accented notes.
Be consistent Also vary your dynamic levels, playing the exercises softly, loudly, and all levels
in between.
When you have mastered the above, practice the same thing again, but starting with the
left hand.
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The UnReel Drum Book
Additional Workout SujiKiions \
After completing Exercise I on the previous page as single strokes, go back over it with
the following stickings:
I .All notes and accents played with the right hand only.
2.All notes and accents played with the left hand only
3.AII notes and accents played as follows:
Groups of Fou
LRLRR LRLL
Groups ofThree
LRRL V
2. RLLR	LRRL
3. RRLR	LLRL
4. RLRL	LRLR
S. RRRR	LLLL
2. RLL
3.LRR
Groups of Five
I.RLRLL
2, LRLRR
3. RLLRR LRRLL
Groups of Seven
I.RLRLRLL
2 LRLRLRR
3. RLLRRLL
4 LRRLLRR%>
ore:When working on the groups of^ee, five, and seven, you might want to v^nge th<
me signature to reflect the grouping you're working on. As a result, the groups dljjhree
ilf-Ь^ »n 3/4, die groups of five will be in 5.4,apd the groups of seven will be In 7/4.
24
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The UnReel Drum Book
Double St rake Workout
In these exercises all sixteenth notes are played as single strokes and all thirty-second
I notes are played as doubles.You should practice leading with both hands. Sticking exam-
ples are illustrated in Exercises 2 and 3 below
I.
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The UnReel Drum Book
Double Stroke Workout ((ont.)
9-
15.
16.
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The UnReel Drum Book
Additional Workout Suggestions
•	Play this system as single strokes.
•	Play all rhe sixteenths with just the right hand and all the thirty-seconds as double-
stroke rolls. Switch to playing all rhe sixteenths with the left hand
Vrnme durrng the recording of the UnReel CD
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The UnReel Drum Book
Hom Workout
Practice these exercises first with the left hand leading the flams—that is. the left hand
playing the grace notes—then the right hand leading the flams, and. last, alternating the
flams. Stkking examples are illustrated in Exercises 2 and 3.
I.
0f=
ь 271>ГГП<'П^П*1. a
lR L R LlR L R L l R LR LlR L R lJ1
rL R L R r L R L R rL R L RrL R L R
3.
RrLRL RrLRL RrLRL RrLRL
LlRLR LlRLR LlRLR LlRLR
4.
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The UnReel Drum Book
Ik » k* ‘ T	‘"ГТ" *-* ~ f ’
Flam Workout (out)
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The UnReel Drum Book
Rhythm Scale Exercises
These exercises are the fundamental building blocks that will help you assimilate the
drum transcriptions.You should be very familiar with these exercises before playing the
solos.They will lower the learning curve dramatically, help your understanding of the solos,
and greatly improve your time and groove. Go through each of these exerases slowly and
as accurately as possible Use a metronome or drum machine at all cimes.Try the following
practice tips as a guideline in approaching the rhythm scales.
•	Start with the first rhythm scale over one beat. Set your metronome co
40 and work on each rhythm individually.
•	Pick the rhythms you are the least familiar with and work on them first
•	Ptay the first scale using single strokes.
•	Play each line at least 100 times and then move to the next one.
•	When playing the rhythm scales for the first time, you will want to count
out the rhythms you are playing to help with accuracy
•	While playing any of the rhythmic groupings, it is important to count and
feel the pulse of the metronome. You want to be able to play any of the
rhythms while always feeling where the quarter-note pulse is.
•	Once you learn each rhythm individually, begin working on moving from
one rhythm to the next and back
•	Pick one of the easier foot ostinatos and begin practicing the scales over
the top. Gradually work on playing the scales over various more complex
foot ostinatos.
*	Work up the rhythm scales over two beats and four beats.
Note that the techniques presented here are intermediate to advanced rhythmic concepts.
If fundamental rhythmic understanding and drumset techniques are not in place, you will not
be able to perform these materials in a technically correct or musical fashion. Numerous
drum methods are available to help you develop your basic skills, and you should study
them with the help of a good teacher.
This material also assumes you have some familiarity with potyrhythms.advancod rhythmic
groupings, metric modulation, odd-time signatures.and the like. Pages 139-140,’’Working
Out Polyrhythms/ presents a supplemental how-to for deciphering and playing many of the
rhythmic groupings and concepts presented here.
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The UnReel Drum Book
Fort Ostinatos
When you can play all the variations on the rhythm scale in your hands, try adding the
following foot ostinatos underneath.At first, start with the single stroke hand pattern
and play that with all the foot ostinatos; then gradually change to the doubles and paradiddle
hand patterns and the like.
2.

ftapti vtth Bhyihm kite a**r four bun и
ahtrwiftg strokes, p
nW j J j Hnj
Sfc
*it>i RAythm Suie over fatit btib
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The UnReel Drum Book
Rhythm Stole Over One Bent
“l*he objective of the following etude is to play from beginning to end without stopping.
I Practice each line individually at first; then practice connecting ro the previous and next
' - -	line until you can execute the whole exercise from beginning to end.
Played *nh ^iirter
•OHS « fre Wet

------J----	-----$-----------S-----------(--—-
:c« » » ................>	......................$
7Tr= Tt^T. :3
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The UnReel Drum Book
Rhythm Scale Over One Bent (rant.)

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https://drumnet.ru/drunn sheet 45918.(15ИьХФИ1<ЭД145(*
33
The UnReel Drum Book
Rhythm Scale Over Two Bents
A gain, the objective of the following etude is to play from beginnrng to end without stop-
8	/"\ping. Practice each line Individually at first; then practice connecting to the previous and
* 1ИИ next line until you can execute the whole exercise from beginning to end.
The. audio eianpie n played wvth the feet with Hand Osbnato #5. p. 52
—I--------------JJ—-----
31
131
131
https://drumnet.ru/drum sheet 45918,(i5HbXiW0W45fr
The UnReel Drum Book
Rhythm Scale Over Im Beats (rani.)
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
35
The UnReel Drum Book
Rhythm Stele Over Four Beats
®1зум1 with Fdh
Ostmiio #4, 31
As with the previous two etudes, the objective is to play from beginning to end without
stopping. Practice each line individually at first, then practice connecting to the previous
and next line until you can execute the whole exercise from beginning co end.
о
-----------------Ы----------------
00 J------J---------J-------J--------J------
36
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
The UnReel Drum Book
Vinnie during the recording of Randy Wakfman $
previous CD Wigged Out
за
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
Phrasing Routines
When you are comfortable playing the scale from beginning to end as single strokes, try
the following exercises:
•	Play the whole scale as double stokes on the snare drum.When chat feels
comfortable, move one of your hands to another sound source, i.e., tom.
hi-hat,or cymbal,
♦	Now try to play the scale with a paradiddle sticking. Next add accents to
the beginning of each paradiddle. The accents will become the rhythm
you are playing over four. For example, if you are playing five notes
between each beat and you accent every four notes, the accents will be
the five of five over four. Again, after this is comfortable, move one hand
to another sound source.
•	Play through the scale with flam taps or any other rudiment of your
choice, eventually using many different rudiments.
•	Play through the scale variations with your feet-As this becomes com-
fortable, add a simple eighth-note groove with your hands.
•	Also apply the same exercise principle between the hands and feet.Try to
play the following hand-foot combinations through the rhythm scale.
•	The final exercise in this section deals with playing through the rhythm
scale as one rate and accents every note that corresponds with the scale.
In this exercise. I chose a simple rate of sixteenth notes.The exercise
then goes through the rhythm scale while keeping the sixteenth-note rate
and uses accents to outline the scale. Once this can be played comfort-
ably, work on playing the same accents with different rates. For example;
Go through the whole scale with 3s, 5s. 7s, and the like.
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
39
The UnReel Drum Book
Rhythm Stolt Double Strokes
I—-
As before, practice each line as needed, connecting to the line before and after n, and
then play from the beginning to the end of the etude.
pjyrd witfi Foot Oilinaio #8, p 31 *The etampie i performed ewr fcur beats instead c4 one
The UnReci Drum Book
Rhythm Scale: Double Strokes (cont.) ли.. L. .. .J 1 .. i ш .. i jJ .. J L		
UM J J	J	J	II 9 9	4 9	9 9	9 9	9 9	9 9 i£			Ц		 		 П П» 9 9. 99	99.	99	99	99	!		Jl JJ JJ J* 	U	u		 TRj qjj:. i5
ги.т2	J JJ JJ *J JJ JJ J 	11		 -	M		 - /, ,,	"T			i	,i ii9 	U			—11	 v! 'J« LJJ i J JI 'JJ 'J J * >i
j. пи ,7Т	9	99	99 J* 99	99	99 	14	- 		14		 		 ТГТГТ:.!..''... '..' J	JJ JJ JJ JJ J/ JJ’’ 14				 ^ss^sssss JJ
U M J,	J JJ 99 JJ JJ JJ JJ 99 	is		 			IS		 .// . //	44	«44	/4	‘	1 99 		л J? 	is			IS		 . JJ 1 <J^ ,>J « ,лл ЛЛ >]
99	’	J/ JJ ^J J^ У Л-Т.	99 J, JJ 99 99 99 99^
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
41
The UnReel Drum Book
Rhythm Slate Paradiddle
A s before, practice each line as needed, connecting to the line before and after it and
/vthen play from the beginning to the end of the etude.
b. 
N»td *rrfi Foot frwnno o. JI *ТЬ мса-*ск is prrfomed w Four beats *s»ad of one

—-—1^. и—1-^
-—I—. -—-—I—. —I
---S—- ---S—
.--4—-	.--5-- ---J-- ---S------J--
EC: nr. „	/,/FFCTTO*
~-------1 ..--1--..-?--. ——1—---1----1-- •-?  

.---1-------1---„----1-------1---• ----1-------Y---.----!-------!-----
im!4^4l4bra4Ml4l4PF14IV4Pll444IV44PPFPH8
1Й
□

10
42
The UnReci Drum Book
Rhythm Scole: Parodiddle ((ont.)
P44PP'P1PP’PIPP’P1PP’P1PP’PIPPPPIPP’P1I
; J J J j jj ; j J j ; jj ; j л; # J; ; J;;
https://drumnet.ru/drum sheet 459l8.('i52(bXi^iW,0^i45Ci-
The UnReel Drum Book
Rhythm Stolt Hom A«ent
As before, practice each tine as needed, connecting to the line before and after it, and
then play from the beginning to the end of the etude.
> >
fl
J J d J lj J.J J
— H----------------H
44
https://drumnet.ru/drum sheet 459l8.(i5HbXiW0W45fr
The UnReel Drum Book
Rhythm Stolt Hom Aaent (rant.)

https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
4S
The UnReel Drum Book
Aaenting the Rhythm Safe
® Sixteenth-Note Rate
 *’th Foot Ortnala #1. p, JI
1. Accenting every second note:
2. Accenting every third note:
3. Accenting every fourth note:
4 Accenting every fifth note
5.Accenting every sixth note
6. Accent!ng every seventh note:
/.Accenting every eighth note:
Continues on next page
46
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
Aaenting the Rhythm Safe
® Sixteenth-Note Rate
 *’th Foot Ortnala #1. p, JI
1. Accenting every second note:
2. Accenting every third note:
3. Accenting every fourth note:
4 Accenting every fifth note
5.Accenting every sixth note
6. Accent!ng every seventh note:
/.Accenting every eighth note:
Continues on next page
46
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
Aaenling the Rhythm Stale:
Sixteenth-Note Rate (cont.)
S.Accenting every ninth note:

eetete
» __ » _ > > __________________________ » ____ > ____ >
"
9. Accenting every tenth note:
(j{f; <2«ELE*S mmwmmmmm
10. Accenting every eleventh note:
> ___ __ >
I I Accenting every twelfth note:
12.Accenting every thirteenth note:
Continues on next page
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45fr
47
The UnReel Drum Book
tenting the Rhythm Stole:
Triplet Rate
I.Accenting every second note:
И-b	--1--	£-I-.	-I —
*»•>»>>>
-i—i 11 i1—-]
2. Accenting every third note:
4------- .---------------s-------	..-----J-------	.------->
3, Accenting every fourth note:
_-----S— _------------S—-	------S-----	------S-----
4. Accenting every fifth note.
--4-^-----—I—*---------5	---------------1--
5. Accenting every sixth note:
c	—»— я — *-	-*-
6, Accenting every seventh note:
£4	4	4	4	4^ 4- 4 ^4	4	4	4	4	4 >4	%
|////////,/// //////////// /////^,//// ////////г,//
I $	- >	1	1	4	1	*	* >	*	*
.।in./л,,,,,,,,,,,, m jn ।	m »•••••
Continues on next page
https://drumnet.ru/drum sheet 459l8.(i52(bXi^iy(iO^i45(i:
49
The UnReel Drum Book
taring the Rhythm Sult
Triplet Rate (cont.)
7. Accenting every eighth note;
I— —I— —S— —-—4—
8. Accenting every ninth note:
^4-
777 /71 777 777 j J~J~J 777777 7771 777 771777* < ».
£-Ь. -4- -4-	--!•* --4- - S- -I- -	^4- —4	—4-
д777 777 777.777. 777 777 • »••••••• #77 777 777
9. Accenting every tenth note;
^4- —u — К --I- —4- -I- —I- -4- —4- ^1- -4-
>
Qj; 773777777Л7|7ЛЛ7Л7Д| J77J7Jj77?77| Д77^7ЛЛ
-lx -4 -J' -4x -U -4 - 4^-4 - S' , 4 ,^ , $ , 5.
^J77J77J77J77|J77J77JDlJ77|J777nJ77J77^J77J77J77J7^
д777 777 777 7771777 777 777 7771.« в л в л,»»»*77^
11.Accenting every twelfth note:
—---4--—	----1------------1---- ------S-----
j-T~] Г-Д—]	;
https://drumnet.ru/drum sheet 459l8.(i5HhX^i7^^5ftevr page '
50
The UnReel Drum Book
Accenting the Rhythm Stolt
Triplet Rate (cont.)
12. Accenting every thirteenth note:
JJJJJQJJJJJJ|«JJJJJJJJJJJpJJJJJJJJJ«r ,„„jtjjJpJj2ijJaJJ.
^4-, _4^|4-4- -I—4--4--S-	-4	-4- ,4^ 4 ^ $^-4
g jtjjt[jjjjj^tj. jt J7) । J7i 1лллт^т jujjjjjq.
^4	-4 -4 --I- - К -I- -^  —- 4 -4- -4^ --U ^*4^ - 4	4
13 Accenting every fourteenth note:
-s -r -» -L• —К	-S -S
—I-	—S- —I-	< --I- - I- - s - s-
g^TJ 1Д JT1 J"T3|JT1 J71J71 J"J1|I71 JTJ J71J,, g
14. Accenting every fifteenth note:
4	4	-f-	4	4	4	-4	-4	4	$	4	1
» » >
^-1^. — 4- ^-4- --1^ — 4- — 4	--I-- ^-1- —4	^4	^-4-
g JTJ JTJ JTJ JTJ । JTJ JTJ. JTJ < < ж. JTJ JTJ JTJ JTJ: j
15. Accenung every sixteenth note'
https://drumnet.ru/drum sheet 459l8.(i52(bXi20iiXW^i45(i-	si
The UnReel Drum Book
Rhythm Stale With Feet
The final section of the rhythm scale exercises deals with double bass drum or double
pedals.Thc idea here is co play through die different versions of the rhythm scale with
your feet while keeping an ostinato in your hands There are two ways to do this The first
method is to simply play an eighth note, sixteenth note, or triplet groove in your hands and
в run through the rhythm scale in your feet without changing the rhythm in your hands Here
g	are SOfne hand ostinato ideas.
Rhpttm как, p. И ptapJ до t*q bran with th< Itti. w*th Hard Oilmalo #5 frw Chn pa$t
S2
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
The second way co go through the rhythm scale is to change rhe hand ostinato along with
the rhythm that is being played in the feet For example:The first hand ostinato moving
through the rhythm scale with the feet would look like this:
X X X X X XJ7XX X X Jx X X J x! J «! . J X X X X X X X X X  J7
Once you feel comfortable with this, you can then outline the hand ostinato with your bass
drum and move through the scale. As a start, play any one of the hand ostinatos from the
previous page with a bass drum on beats I and 3. Move this figure through the rhythm scale.
The following exercise uses the rhythm scale over four beats with the hand ostinato #10. The
bass drum plays on all notes of the ostinato.This moves a basic groove through the rhythm
scale, and you can apply any of the hand ostinatos and any bass drum pattern to this exercise.
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
S3
The UnReel Drum Book
Bosk Groove Ostinolo MomgThrough
the Rhythm Stole •
9	Moving > bttic groon^ through i*e
rhythm к ale using Osdnaco 410
a two-note grouping:

2. Using a three-note grouping:
--И-	—	— H- — H -	-—И - H ->	51— -- и -
3. Using a four-note grouping:
4. Using a five-note grouping:
-— H —	#---И—
5. Using a six-note grouping.
H-->—w>- —
6. Using a seven-note grouping:
54
https://drumnet.ru/drum sheet 459l8.(i52(bXi^iy(iO^i45(i:
The UnReel Drum Book
Bosk Groove Ostinoto MovingTIirough
the Rhythm Stale (rant.)
8. Usmg a nine-nose grouping:
-----1H —
https://drumnet.ru/drum sheet 45918.(15ИьХФ70Ш450:
55
The UnReel Drum Book
Basic Groove Ostinato Moving Through
the Rhythm Scale (com.)
J 3. Using a four teen-note grouping:
14. Using a fifteen-note grouping:
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	99	999		’999	999	99 ft	99	999	999	99	99999i		9 99Л	^99	rrfi	
56
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
Introduction to Solos
The following pages contain transcriptions of all of the drum solos found on the UnReci
CD as well as some of the intros and outros to specific songs. Each section begins with
a copy of the actual chart Vinnie used in the recording sessions for the CD.
In certain cases, з piece will be followed by a breakdown of specifically challenging measures
and exercises to atd in playing these phrases. I suggest first reading through each piece along
with the CD to get a good feel for the music and to give yourself an idea of how the music
looks.Then pick a song that interests you and begin learning it in the following way. First,
break the piece down into small parts so you can concentrate on accuracy and technique. If
you try to tackle too much at one time, you will become frustrated and discouraged.These
pieces are extremely challenging and as such will be more rewarding once learned. Don't be
m a rush; take your time. Be patient and thorough. As you begin to learn a piece, look at the
breakdown and exercises chat follow it to help you. Once you become familiar with the
more Intricate parts of the piece, start to play the whole song at a very slow tempo.Work
out the complete solo with the play-along CD and be proficient at all the tempos provided.
If you follow this course, you will be successful and (he rewards will be great When you can
play the solo at the final tempo, then play along with the CD. A final challenge and an essen-
tial part of learning is to become creative and make up your own fills.You can start this
process by changing the voicing around the drum set to your own.
Vinnie during the recording of the UnRcel CD
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
57
The UnReel Drum Book
Dew*
The |sIsons
(OSu X Pau Ш'
Hi Ии и 6tMM«

(Рим
(OSLX fttCfcwiHG?

(fcfttlWf f IM£ ЙАМ StAf'
fOfJLX PttlSlOlNGt'
I I T V ’ ТОйГ-
ЛЙМим
Г Г Г i4i Г Г *5[ г г
[A] [(Stott M
h . z4x J ftuMfKfMNf«SflfiK
W -----------------
19	20	21
32
с 1990 Cxtcr laixi^ Мл*с
https://drumnet.ru/drum sheet 459l8.(i5nbXiW(iW45fr
The UnReel Drum Book
Th* lotions ((on)
Th» Jmorw-3 2
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
59
The UnReel Drum Book
JM. :: tr~r- r;i
Thejetsonsdont.)
(SfttWW TlMC flfll ЙАМ fcAf'
' P И И И |И ЛИ И p И И И'} Jfffl Jffj
7	66	67	68	69	70’Ж”**	*

OtQM SfiUK
lha кимм> 3 3
75
Vrnrwe рег/brmjng cH NAMM 2003
60
https://drumnet.ru/drum sheet 459l8/i5nbXiW(iW45fr
The UnReel Drum Book
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
6i
The UnReel Drum Book
letsons Breakdown
This solo is short but is a great way for you to work up some speed in your hands.The
first two bars can be played as follows:
With these stickings (or your own), play the measure strictly on snare drum
Next add in the accents. Really concentrate on playing the unaccented notes extremely
soft This takes great control at fast tempos, so practice it at a slow tempo to train your
muscles to relax
Now you are ready to add the bass drum
Once adding the bass drum at this tempo feels comfortable, slowly pick up the tempo
until you are at speed with the song Then move your hands co different sound sources
around the drums.
62
https://drumnet.ru/drum sheet 45918. (^ИьХФЖШБО:
The UnReel Drum Book
,?ит-;гт;-;;  t-wuiuji i, j
Measures 4-10 are fairly straightforward. If you practice them slow and relaxed, you should
not have any problems working out these bars
Measure 11 until the end can be worked out in the same manner as the first four measures.
Here is a suggested sticking-
•» * " ♦ > »> • » * •
Spencer whispers some subtle drumming suggestions in Vinnies ear as Randy looks on.
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
63
The UnReel Drum Book
The UnReel Drum Book
Mi failrite Things (tom.)
rrt>~r'Г'РГ1
The UnReel Drum Book
Hl tarite Things ((out)
lOUO 6£IOQ£
@|4eL0 8мм'	(OHtooni»'-j,	J Л J
4Tl39 
(iHfttLUtt'	ыспсм *«tiH fM «cto t
u IJ*	*»	v J
I
Л155	r ’	| / | I И I
(Owh Seio'
66
•	- " https://drumnet.ru/drum sheet 459l8.(i52(bXi^iy(iO^i45(i:
The UnReel Drum Book
MjtariitThings (cent.)
T%ngi-4 Л
Vjnnre perfbrmmf at NAMM 2003
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
67
The UnReel Drum Book
FmrittWSolt
@ 5:18 of UnReel CD Track 2
68
https://drumnet.ru/drum sheet 459L8,G5g(bXiX)iy(iOX)i45Ci:
The UnReel Drum Book
Fovorite Things Solo (mm.)
https://drumnet:'ru/cl,r6m9heet'45918.(i52(bXiX)init)X)i45(i:
69
The UnReel Drum Book
Favorite Things Breakdown
Start this transcription by working out measures 3 and 4.These bars contain seven eighth
notes in the time of four eighth notes or seven eighth notes in the time of two quarter
notes, phrased as fives, as outlined by the accents and flams. If you haven’t worked on the
rhythm scale at the beginning of the book, now would be a good time to do so.
When approaching a difficult rhythm for the first umc. you should break it down so that it is
easier to play.
Think of the seven as being played over two quarters instead of four eighths, and ignore the
accents and flams temporarily,
Get comfortable playing seven over two The easiest way to do that is as follows;
I. Play a measure of seven with eighth notes on your hi-hat (or bass drum or left
hand).The following example illustrates this approach using the hi-hat. Play on
all the downbeats with your hands, Rem ember co repeat each exercise until
you are completely comfortable before moving to the next one. Also work
until you can count the seven and then the two effortlessly.This will be a great
asset when it comes time to add the accents and change to the time signature
of the piece.
2. Next, eliminate all rhe hi-hat notes that do nor have an accent and this will
give you the two quarter notes, while your hands will still be playing the seven
3. Then, add the accents found in the piece.
x	к	x	x
4, Finally, add the flams and a suggested sticking.
t L L 2 C L £ L l 2 t L U £ t L
70
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
5. The next challenge with these measures is going from the seven co the triplets
or sixes. Again, break it down and refer to the opening rhythm scale in the front
of the book to help with this. Practice going from seven to six strictly on your
snare and bass drum or hi-hat. Begin by playing this exercise with single strokes.
6. Now, in order to really internalize this rhythmical transition, double the bass
drum or hi-hat notes to play all four beats.You will now be playing the rhythms
over two beats instead of one. Keep playing single strokes. Concentrate on the
rhythm without thinking about what your hands are doing.
---------H---------, ----------W---------- -----------71-------------------H----------
—5^ ——I—
5
7. Next, make the transition quicker by cutting the amount of bars In half.
---H---~  --71--- —b	—I- —S-

8. Next, add the accents to get the phrasing.
https://drumnet.ru/drum sheet 459l8.(i52(bXiW0W45Ci:
71
The UnReel Drum Book
9. Insert the bass drum from the transcription into the triplets and play the hi-
hat on all the beats.
10. Now take the same rhythm and put it in 6/4,This is mentally easier to play
than 3/4 because you don t have to think about playing the second seven over
the bar line, and it works out to the same thing.
I I. Finally, add the flams and suggested stkking.and you have the final fill.
https://drumnet.ru/drum sheet 459I&(15^X1 WOW45Q:
The UnReel Drum Book
Vrnnie dMHf recording of tbe UnReel CD
Vnnme performing at NAMM 2 003
https://drumnet.ru/drum sheet 45918.(is2(bXiX>iniT)X>i45Ci-
73
The UnReci Drum Book
@ leave It to Beaver
Track	A22. ^АНОУ WALOMAH
- https://drumnet.ru/ drum sheet
The UnReel Drum Book
p Сила? QI	p OHi7Q7 QI f P flytQH» tft £7 g
и и И H И И И |~?~ И Л н и Л /
28	29	30	31
" ’ https://drumnet.ru/drum sheet 459l8.(i52(bXi20iiW^i45(^
The UnReel Drum Book
ImhioBmrtmt)

1	69	1	"	70	—'	71	72
76	' https://drumnet.ru/drum sheet 45918.(i5HbXiW0W45fr
The UnReel Drum Book
Qljc?
leave It to Beaver Solo >
@ 2:29 of Unfleel CD Track 3	("*m J=200)
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
77
The UnReel Drum Book
leave It to Beaver Solo колt.)
78
https://drumnet.ru/drum sheet 459t8.(is2(bXi^iy0t)X)i45(i:
The UnReel Drum Book
leme It to Beover Solo ((out.)

J Д и Л» J
94
https ://drumnetru/drum sheet 459L8,G5g(bXiX)iy(iOX)i45Ci:
79
The UnReel Drum Book
leave It io Beever Breakdown
This is one of the two pieces included on the CD without drums.There аге some great
areas In the solo chat when practiced will help with brush technique. It would be a good
idea to go back to the opening exercises in the front of the book and play through them on
brushes because there are some challenging passages in this solo Most of what is contained
is self-explanatory when it comes to stickings, and so on; however, here are some sugges-
tions on how co play a few different measures.
A suggested sticking for measures 55-57 is as follows:
—I- — К —4- — 4 — 4-
t I I « t L t . И !

Measures 75-78:
80
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
Wnnie.Affie, and Rondy during the recording of the UnReel CD
Wnnie performing at NAMM 200?
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
81
The UnReel Drum Book
Mi Hoi
Лее. 2ансч Ualomah
ВакМ^З I
82
О IW Grwnl ferrfm Mu»c
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
The UnReel Drum Book
Bali Hoi (аил.)
*ЯНо» 3 2
https://drumnet.ru/drum sheet 459l8.(i5nbXiW0W45fr
83
The UnReel Drum Book
Boli Hoi Itool.)
84
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
The UnReef Drum Book
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
85
The UnReel Drum Book
Boli Hoi Intro Solo (toot.)
86
https://drumnet.ru/drum sheet 459l8.(i5HbXiX>iWJ0X>Ji45(^
The UnReel Drum Book
Bali Hui Intro Solo (cont.)
Vtnme performing at NAMM 2003
https://drumnet.ru/drum sheet 459B.(i52(bXifliXiW45ft
97
The UnReel Drum Book
Beli Hai Intro Solo Breahdown
This piece will really challenge your internal clock.The idea here is to feel the pulse as 7/2
so that two bars become one: two quarter-note pulses become one quarter note. The
following illustrates this. Written above the notes is the regular count and below is how to
feel the drum part
119	4 6*7	115 4 5*7
Here is how the pulse is felt half notes played over two bars.This gives the feeling of 4/4. yet
you are in seven.
Li 1.4 U 7	1 t.S M i.7
IIS* 5*7
Another way to think of this is to cut the rhythm in half and take the pulse felt above and
make chat a new quarter note.This is like writing a part in 4'4 but playing it in cut time. Seen
this way, the first measure would look like this
The best way to work on this piece is to learn the snare drum part and, instead of playing
half notes, play quarters with your left foocThey will feel like eighths against the 7f2 pulse
that is implied on the snare. Once chat is comfortable, play the hi-hat notes as written. It is
important to count through this piece co be able to feel both pulses (the written one and
the implied one). I suggest counting with the CD several times and then playing the piece
yourself.Another helpful tool is your metronome. Play the piece with your metronome, first
playing the quarters and then playing the half note. If your quarter-note pulse is 80 on the
metronome, then the half-note pulse would be 40
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The UnReel Drum Book
Another challenging measure in this piece is bar 9 where the time signature changes to 5/2.
A simple approach to thts is to think of it as two bars of 5/4 or one bar of 10/4. The rhythm
would look like this:
The fill that is played would look like this in 5/4:

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Boli Hoi Solo » £ -£
Q 4:00 of UnReel CD Track 4 <mrn *‘8°) <mm •"150)
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Bell Hai Solo {(ont.)
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Boli Hoi Solo Breakdown
This solo is one of the most challenging on the album.The challenge comes from the intri-
cate polyrhythms coupled wrth the way in which they are ph rased. The way to approach
this piece Is to double up the notes so chat they are over one beat or over two beats,
whichever rhe case may be. It is easier at first to play these rhythms over one or two beats
as opposed to two or four beats (as written). Begin by taking measures I 3 to 20:
When you take these measures and rewrite them with all the notes cut in half, it will look
like this:
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The exercise on rhe previous page is somewhat easier to read and play In order to keep the
pulse the same, you must cut the tempo in half. Look at measures 27—36
Wnnw perfb.Tnrng at NAMM 2003
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The quarter-note triplets and eighth notes are phrased as fives.and the eighth-note triplets
and elevens are phrased as fours.This presents quite a challenge. Start by doing this simple
exercise to get a feel for the rhythmical changes. Extract some of the rhythms found in the
scale at the beginning of the book and practice going from one rhythm to the next. Also,
omit the accents and Rams found in the solo to allow you to focus on the rhythmic changes.
Start with your bass drum playing on one and three.This will make the elevens much easier
to play Play each repeat four times; then move on to the next bar without stopping.
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When you can play the previous exercise accurately,try to add the following accent pattern.
First, play through the whole exercise, accenting every fourth note.
Notice chat whatever rate you are playing, the accents become that rate against the quarter-
note pulse. For example, the triplets’ accents of line I are three over four,The elevens’
accents are eleven over four half notes spaced over two measures.This is because you are
playing eleven sixteenths in the time of two quarters, and not one quarter so it takes twice
as long for the cycle to complete. For a detailed explanation of this concept, see the
’’Working Out Poly rhythms” section.
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Accenting every fifth note:
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If you still have some difficulty with the accents, try changing the sticking to a five-note
sticking instead of single strokes.Th is will help you place the accents more naturally. Here
are a few suggestions:
l)RLRLL 2) LRLRR 3) RLRRL 4) LRLLR 5) RLLRR LRRLL
Now look at the actual measures in the piece. Again, start by playing the rhythms over one
and two beats instead of two and four. You should now feel comfortable enough with these
rhythms to also play the written accents. If you do not. go back over the two previous exer-
cises until you do
Anally, play the measures as written with the rest of the piece Playing these rhythms over
two and four beats should now be a lot easier
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Vrnrwe performing or NAMM 2003
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Hawaii Rve-0 (tout)
ПмПМ	foil Д?М Д^ G#’ Й7
fi Apis o?H GpH
100
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Hffloii Rut-0 (tool)
61	62	63	64
QhP M ДтИ AP^ £
4* u
g] (2.H0 Soto' PiAHO
*	. pMifl
66 L -d I——I
Q7tfe} Qwill
68	69	70	71	72	73	74	75
8И (0 &’
0 bn 0 flu Qrfl&iW
76
78	79	80	81	82	83

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Vrnme performing at NAMM 2003
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Hawaii Five-0 Intro Solo ((out.)
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Hawaii five-0 Outre Solo
(mm,=50) (mm, = 100)
Please note:The following transcription is of the original take of this piece from the recording session.
The piece was later re-arranged and the first half of the solo was omirred.The solo on the actual
recording starts on measure 18. On the MIDI files CD, you will find this enure solo as written here
106
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HoweiiFive-OOutroSololwnt.)
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Hawaii five-0 Solo Breakdown
Although the transcription here is straightforward, there are a few sections worth focus-
ing on.The piece contains basic rhythms such as sixteenths and triplets: however the
way in which these are syncopated and phrased can present quite a challenge. Start this
piece by focusing on the 5/4 bar. measure 18 of the transcription, and practice going in and
out of this measure. A solid way to do this would be to play a very simple groove of your
own and work on playing from 4/4 to 5''4 and back. In these measures the phrasing is played
with a sixteenth-note rate, so a good starting point might be to try the following sixteenth-
note groove;
Once this feels comfortable, start co substitute the notes from the transcription.
Yinnie performing at NAMM 2003
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America
Сейме
A«. 2АН0У UALOHAH
Ananes 1*1
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Amelia ((mil)
no , fittos://drumnetru/ drum sheet 459B.(i52(bXi^i7iO^i45(t
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115
116
113
114
109
110
111
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Vinrwe performing at NAMM 2003
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Amenia Intro Solo £ -H
(mm J =50) (mm л = 150)
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America Intro Solo (ant)
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Amerka Intro Solo ((ont)
VOnnre perfcwmrnf at NAA1/V1 2003
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Roruty Wafdmcr.o and Vrnrue Copula
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118
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AmeritflSolokont.)
--1—	i
40
---9--•- --1—-
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America Solo Breohdown
The phrasing and the use of four over three (found throughout the intro and the sdo
sections) arc great focal points to start working up “America " From measure 3 until
measure 6 of the intro, the rate is played as sixteenths.This passage sounds off-kilter to the
ear because of the phrasing of the sixteenths and the beg«nning of the fill.
I. The fill is phrased as a five, five, five, and a six. This means that between each
accent is a group of five notcsjollowed by another group of five notes, followed
by another group of five notes, and ending with a group of six notes.To make this
easier to play, try a comfortable five-note sticking so that the accents will fall natu-
rally in your hands. Play the following exercise just on your snare or practice pad
until it feels comfortable.
2. Again, this is |ust one sticking possibility, so if it does not feel comfortable co you,
try one of your own.
3. Next take a look at measure 8 of the intro This measure can be challenging
because of where the fill begins.
-—I—. ---------S
Starting a triplet on the second sixteenth note of a beat can seem a bit unnatural.There arc
two ways to meet this challenge. First, practice the fill starting the triplets on beat I. Play the
following exercise. И you don’t feel comfortable with the stickings, try some of your own
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Now. work on shifting the whole fill over by one sixteenth note. First practice playing the
following exercises while counting out loud. Play each line until you are comfortable, and
then move to the next line without stopping. It is the counting that should be your focus on
this exercise.The change from the first line to the last will help you start the triplets on the
second sixteenth note. Once you get used to the counting, play the fill as written with the
proper voicing on the toms and bass drum, but remember to continue counting.
I.
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This next exercise deals with four over three. Start by caking a basic exercise and gening
comfortable with this rhythm.The easiest way to approach this is to play in three. Play six-
teenths and accent every third note as follows:
The fill found in measures 15 and 16 of the intro contains four eighth notes played in the
time of three eighth notes, followed by three eighth notes in measure 15 and an eighth note
and three triplets in measure 16.
Breaking down the fill, as done previously, is a great way to approach these measures.Try
the following exercises:
Measure 15:
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Measure 16:
Measures 43 and 44 are four quarters played in the time of three quarters and the four
quarters are then subdivided Into eighth notes. (You could also think of this as eight eighth
notes played in the time of six eighth notes )
Again, break down the fill as before For this exercise, I would use two bars of 3/4 for each
fill. Approaching the rhythm from this angle will make it much easier co play
Vinnie performing at NAMM 2003
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Осин*
Pliy-along
Tr.-|L>
Дее. 2аноу Walomah

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MonnixSolo
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Monnin Solo Itont.)
Vinnrc fjerfonnrng ot NAA4A4 2003
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Mannix Solo Breakdown
This song fs one of the two play-along cuts found chi the CD without drums.The solo
section is pretty straightforward and really does not warrant a breakdown as such The
solo stands out as a very good workout for brushes. Of ail the solos found in the book, this
one would make a great starting point Don’t let rhe simplicity of the transcription fool you,
however, because there are some challenging phrases that are played fluently over the
pulse, as well as some very nice brush work (Look at measures 22 23 m the solo).Thc main
idea when learning the solo is be aware of what isn’t played. Less is more
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Ben (вд
Dew*
Асг. CAKCW WALOMAH
banCawyJl	C 1999 Gr*ot ord л I Muic
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Ben tenant.)
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132
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И G/0 PM G* Abt
44 r unr й J pi Ji pi *
'Tw Емки' йм(7
Ajm«7 Qua?
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25. Щ1 26. |
(mm J = 50) (mmJ=H0)
Beu (вд Solo
ffi 2:32 of UnReci CD Track 9
134
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Ben (osej Solo |(ont.)
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Ben Casey Solo (tout.)
- 0—.   1—-   *—-   »   i —
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Ben(aseySoloBreahdown
This transcription has two big challenges.Thc first is the time signature, and the second is
measures 20-36. In measure 20-36 the speed at which the sixteenth notes are played is
very fast.A good way to work on this passage is to practice playing through the different
stickings between your hands and feecThe basic patterns are as follows:
Singles
Combination Six-Note Phrase
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Once you are comfortable playing these patterns individually, work moving from one to the
next without stopping- Finally, apply the transcription passage and this will aid in shortening
the phrases, so instead of playing one full measure of a six phrase, you can play one six
phrase followed by one double, one single, and one five phrase.
Vinn«? performing <и NA/И/И 2003
I ЗВ
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Working Ont Polyrhythms
An easy way co work out any potyrhythm is co use what I call the A-B-A method.
First. A, take the polyrhythm you are working with and decide which of the two num-
bers will be your time signature. For this first example, take five against four You have the
choice of being in either 5/4 or 4/4. If you decide on 4M. then move on to B. which makes
the other number the rate in which the quarter notes will be divided. So, if you decide on
4/4 as your time signature, then you will subdivide each quarter note by five, if you decide
that the time signature will be 5/4, then you will subdivide the quarter note by sixteenths
(four notes). In most cases, begin by opting for the easier quarter note subdivision. In other
words, for this example it is easier to play in 5/4 and subdivide by sixteenths than co play in
4/4 and subdivide by fives.
Finally, as illustrated in the example below: (A) work out the accents that set up the
polyrhythm, which is determined by the first number you chose as your time signature. In
this case we would accent every fifth note. Once you do this, eliminate the unaccented
notes and you have the polyrhythm. In die first example your time signature was 5/4 (A).
You then used the next number for your subdivision (B), which is sixteenths Finally back to
the first number five, of 5/4 time signature (A) for the accents. Here are some examples to
illustrate this method.
Five Against Four
A. Decide on a time signature using one	B. Subdivide the quarter note by the sec-
of the numbers of the polyrhythm: in ond number, in this case four.
this case five or four.
П S И.Ж----J---J----J---J_	ч в •
U * k1 I I 4 6 * J * J
C. Using the first number, five, space the accents apart by this number and then eliminate all of the
unaccented notes.
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Five Against Three
Seven Against Four
A	В
140
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Eleven Against Four
О	—J—I
1194917991011
Note:To really internalize these rhythms.you should count out each rhythm while playing
both together. If you are learning five over four be able co count both the five and the four
This will enable you to play the polyrhythm in any time signature.
If you have come this far in the book and can play some of the content found herein, con-
gratulations1 Learning these rhythms and phrasing concepts is by no means an easy task; it
is. however, extremely rewarding. I guarantee that if you arc a musician and you have learned
to play the Rhythm Scales found in the book, you have improved on your time and groove
immensely. Learning these transcriptions and exercises does not necessarily mean you have
co play this way on every given musical situation. Although you have expanded your musical
vocabulary, the goal should always be to let the music dictate what does and does not fit If
it feels good, then nine times out of ten, it fits. If you even begin to start thinking and analyz-
ing what you are playing as you are playing, it probably will not fit the musical situation in
which you are involved.
Remember, one of the ultimate goals is to avoid playing licks and to work on a scream of
consciousness in your playing where you can feel and play any rhythm you want without
thinking about itThis way the music will dictate what will fit and work for you. Use your
brain to work out what you want to learn, and your heart to play it, I hope this book has
brought you at least a step closer in this task.
Respectfully.
More Atkinson
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Randy HfoJdmcn.VirHije Cotaiuta, and Marc Atkinson during the production of the Un Reel project
Ml
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