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I believe playing the drums is today one of the most rewarding but toughest jobs in the music world. The average technical level keeps rising, as well as the requirements to be met in order to play music for a living, or even just to have fun.
Also, the problem isn't finding resources anymore, and it has gradually become avoiding to get lost in the huge amount of information available.
That's why after years of practice, transcriptions, analysis and study of all kinds of drummers and drum books, I felt the urge to summarize it all in a clear, thorough, easy to follow method. A compendium of the greatest player's most spectacular, complex and musical phrasing, in a step by step passionate and productive program to help the student get results while having fun.
We all talk about them, we all dream about having faster and cleaner monster chops! How could there possibly not be a book about them? Tons of fantastic materials have been written but when it comes down to that crazy lick we heard on our favourite record we still go 'What the hell was THAT?!'.
Good news, we are about to find answers to many of those questions.
The goal is to practice these studies with responsibility, that is with the desire to achieve a higher level of expression on the drumset while knowing that the music will always tell us when and what to play, and that something fast and complex is great when it happens in the right musical moment or it can be a two edged sword.
The material is divided in 4 parts, in the effort to boil down a practically infinite subject into easy to understand exercises that you can immediately transform in music.
The first part is dedicated to what I call 'Groups', that is small units consisting of hand/foot combinations to be distributed on the 4 limbs and orchestrated on the drumkit.
The second part is all about rudiments, played with the hands, with examples, studies and ready to use solutions. It's incredible what can come out of a simple 5 stroke roll if used wisely.
Then the hottest part of the method, the result of years of trying to figure out the greatest licks ever played, live or recorded, by the top drummers of our time. We know the names...
And finally, since as usual I'd like this book to be a starting point, the fourth part focuses on the methods to employ in order to develop your unique voice and experiment with the studies from the first 3 parts in ways that let you access unlimited combinations.
After some time spent working through these pages, you will begin feeling more and more fluent in this language and you will almost see licks manifest right before you with great articulation and precision.
That's exactly the kind of goal we need to set in order to make music and express our creativity.
Use with caution! Eugenio Ventimiglia
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