​On the pads start at 40 BPM, softly, then 150, then 50 then 140, then 60 then 130 you get the idea. If you are a beginner start at 70 BPM for a few weeks, then start trying out other tempi. Slower is harder to control.
On the kit: My 12-year-old copy says 40 BPM. R=alternating feet, L=hands. 
Other ideas play Samba feet under the sticking patterns. Or a Nola pattern, or even a Cuban tumbao rhythm pattern.
 
Make every note sound intentional. 

• all soft
• all loud
• soft with accents
• crescendos and diminuendos
• straight/swung

 
it goes on and on. 
 
There are numerous ways to play this famous page. Head over to Nick Ruffini’s page and ask for copy of his book. Mailing List - Drummer's Resource: Conversations with the world's greatest drummers and music industry pros. (nxcli.net) And enjoy his podcasts. I’ve listened to over 500 of them!
 
The key word is intentional practice.
 

Drumming is about having fun. Having fun is about playing well. Playing well is about directed instruction. Playing music with others is about time and groove, period. The band wants to hear our pulse, good vibes, and steadiness. This happens when we work on our "stage one drumming"

In short:

1. Our posture at the kit
2. Knowing the appropriate grips: French, German, American, Traditional
3. Control and knowledge of drum strokes: Full, tap, whip, finger and more
4. Practicing our rudiments: cornerstone of every great drummer and aspirant.
5. Understanding pocket: laying down a groove that fills the dance floor or in the case of jazz, has fingers snapping.
6. Hand accents: a key to groove, feel and drumming finesse.
7. Our Time development: The great Terry Clarke and Greg Hutchison both said, no time, no gigs. Or in our cases, basement banishment.  It can be learned. 
8. Learning how and what to practice to make the most of our precious practice time. Learning to practice well will help us maintain the enthusiasm we brought to the project. Drummer Benny Greb believes, and so do I, that seeing and hearing progress is the key to drumming joy. 
9. Enjoy playing some tunes or beats: the reason you are signing up. 

Chat soon, 

David

Outstanding fun for Baby Boomer drummers and youngsters wondering where did this all come from. Warning there is a short scene in a strip club near the beginning and a few other scenes typical of the rock era. Thank goodness we have evolved since then. 

​David

1. Time
2. Feel
3. Balance

How do I practice these musical qualities?

1. Playing rudiments with a metronome.
2. Working on technical exercises for limb independence.
3. Recording my playing of the above and listening back.
4. Lastly, repertoire: Early New Orleans Jazz, Swing, Modern Bebop, Classic Rock, Blues shuffles, Classic funk, rudimental drum solos, Scottish Highland drumming, and modern styles derived from Dance and Hip Hop. As always, listening back to the practice recordings as I go along. I always know why I'm repeating a passage in my practice time.

Philosophy of practice

1. Practice is a privilege.
2. I know what to practice, why I'm practicing it, and what success sounds like before I begin practicing. 
3. My practice space is organized with everything ready at hand.
4. I enjoy every part of learning. There are no boring bits.
5. I play before or after I practice.

Cheers, 

David

This track challenges a students' ability to hold a groove for an extended period of time. Drummer Grady Tate plays with so much feel, groove and simplicity.
No small feat. 

David

There is no cure for snare drum acquisition disorder. 

One of the the joys of drumming is getting the hands together while playing with others.

On the other side of the pandemic I look forward to some Saturday afternoons teaching this to my drumming students.

​We'll be making a glorious music. 

David