Thomas Lang - Creative Coordination & Advanced Foot Technique

Thomas Lang: Creative Coordination &
Advanced Foot Technique

For more information visit www.sticktrix.com
Music Engraving by Steve Ferraro
Chapter 1: Kicktrix
Subchapter 1: Foot Massage
Exercise 1: Tempo = 125BPM
Maintain strong back-beat

R.H.                
       
 
L.H.
R.F.                
L.F.                
p p f
This transcription is for educational purposes only and matches a DVD available from Hudson Music,
by Thomas Lang, called Creative Coordination & Advanced Foot Technique.
This transcription is not for sale and is not intended to be used for any commercial purpose. © 2006 Hudson Music LLC
Chapter 1: Kicktrix
Exercise 2A: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.    
L.F.                        
Chapter 1: Kicktrix
Exercise 2B: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.      
L.F.                      
Chapter 1: Kicktrix Music Engraving by Steve Ferraro

Exercise 2C: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.      
L.F.                

Exercise 2D: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.        
L.F.                

Exercise 2E: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.        
L.F.              

Exercise 2F: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.      
L.F.                

Exercise 2G: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.    
L.F.                    

Exercise 2H: Tempo = 125BPM
R.H.                
       
 
L.H.
R.F.      
L.F.              
Chapter 1: Kicktrix
Exercise 2I: Tempo = 125BPM
R.H.                
   
 
L.H.
R.F.            
L.F.        
Subchapter 2: Pedicure
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.    
L.F.    

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.          
L.F.          

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.            
L.F.            

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.              
L.F.              

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                
L.F.                

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                
L.F.                

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                  
L.F.                  

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                  
L.F.                

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                  
L.F.                

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                    
L.F.                  

6 6 6 6 6 6 6 6
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.
R.F.                
L.F.                

6 6 6 6 6 6 6 6
Switch feet to a different pedal each quarter-note.
3 3 3 6 6 6 6
               
3
R.H.            
       
   
L.H.
R.F. Improvise foot patterns Improvise foot patterns

from Ex. 3-12! from Ex. 3-12!
L.F.
Ex. 13 is an improvisation using various foot patterns taken from Ex. 3-12.
Try playing the backbeat using different hand patterns such as those above, for example.
3 3 3 3 3 3 3 3
R.H.                        
       
 
L.H.

from Ex. 3-12! from Ex. 3-12!
L.F.
Ex. 14 is another improvisation using various foot patterns taken from Ex. 3-12.
Try switching the feet to different pedals to create grooves with different sounds.
Chapter 1: Kicktrix
Subchapter 3: Reflexology
R.H.                
 
 
L.H.
R.F.   
L.F.                           
Chapter 1: Kicktrix
R.H.                
 
 
L.H.
R.F.      
L.F.                        
Chapter 1: Kicktrix
R.H.                
 
 
L.H.
R.F.          
L.F.                     
Chapter 1: Kicktrix
R.H.                
 
 
L.H.
R.F.            
L.F.                    
Chapter 1: Kicktrix
R.H.                
 
 
L.H.
R.F.           
L.F.                
Chapter 1: Kicktrix
R.H.                
   
 
L.H.
R.F.           
L.F.        
Chapter 1: Kicktrix
R.H.                
   
 
L.H.
R.F.        
L.F.                        
Chapter 1: Kicktrix
R.H.                
   
 
L.H.
R.F. Improvise foot patterns

from Ex. 15-21!
L.F.
Ex. 22 is an improvisation using various foot patterns taken from Ex. 15-21.
Try switching the left foott to different pedals to create grooves with different sounds. For example, switch
your left foot to the hi-hat to create totally different-sounding grooves, even though the pattern remains the
same.
Subchapter 4: Foot Fetish
R.H.                        
       
 
L.H.
R.F.           
L.F.                     
etc.
Also reverse foot pattern: LRR, LRR, LRR, LRR, ...
R.H.                    
       
 
L.H.
R.F.        
L.F.                        
R.H.                    
       
 
L.H.
R.F.                        
L.F.        
R.H.                    
       
 
L.H.
R.F.        
L.F.                        
R.H.                    
       
 
L.H.
R.F.                
L.F.                
R.H.                    
       
 
L.H.
R.F.                
L.F.                
R.H.                    
       
 
L.H.
R.F.             
L.F.                   
etc.
R.H.                    
       
 
L.H.
R.F.                   
L.F.             
etc.
R.H.                    
       
 
L.H.
R.F.                
L.F.                
etc.
R.H.                    
       
 
L.H.
R.F.                 
L.F.               
etc.
R.H.                    
       
 
L.H.
R.F.              
L.F.                  
etc.
R.H.                    
       
 
L.H.
R.F.              
L.F.                  
etc.

R.H.                    
       
 
L.H.
R.F.            
L.F.                    
R.H.                    
       
 
L.H.
R.F.            
L.F.                    
R.H.                    
       
 
L.H.
R.F.            
L.F.                    
R.H.                    
       
 
L.H.
R.F.                
L.F.                

R.H.                    
       
 
L.H.
R.F.            
L.F.                    

R.H.                    
       
 
L.H.
R.F.                
L.F.                
etc.
R.H.                    
       
 
L.H.
R.F.             
L.F.                   
etc.
*Note: This exercise does not
appear on the DVD. For more information visit www.sticktrix.com
*Exercise 42: Tempo = 120BPM
5's + 6's
R.H.                    
       
 
L.H.
R.F.               
L.F.                 
etc.
Chapter 1: Kicktrix Music Engraving by
Subchapter 5: Steel Toes Steve Ferraro
Exercises 43-50
Exercise 43: Tempo = 210BPM Exercise 44: Tempo = 215BPM
R.F.
L.F.                                   
R.F. 
 














L.F.
R.F.
L.F.                     
 
R.F.
L.F.                      
R.F.
L.F.                        
R.F.
L.F.                              
R.F.  
  
 

  
   
 


 
  
  
L.F.
appear on the DVD. For more information visit www.sticktrix.com
Chapter 1: Kicktrix
Subchapter 6: Triebwerk
R.H.        
   
 
L.H.
R.F.                
L.F.                
               
Chapter 1: Kicktrix
Subchapter 6: Triebwerk Music Engraving by Steve Ferraro
R.H.        
   
 
L.H.
R.F.              
L.F.                
 
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.              
L.F.              
   
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.            
       
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.             
L.F.             
      etc.
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.        
L.F.                
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.                
L.F.        
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.             
L.F.             
etc.
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.            
       
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.            
       
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.            
       
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.             
L.F.             
      etc.
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.             
       etc.
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.             
       etc.
Chapter 1: Kicktrix
Exercises 65A-65C: Tempo = 140BPM
R.H.            
 
 
L.H.

from Ex. 51-64! from Ex. 51-64!
L.F.
Ex. 65A-C are improvisations using various foot patterns taken from ex. 51-64 in a 6/8 feel.
Chapter 1: Kicktrix
R.H.                
       
 
L.H.

from Ex. 51-64! from Ex. 51-64!
L.F.
Ex. 66 is an improvisation using various foot patterns taken from Ex. 51-64 in a 4/4 feel.
Chapter 1: Kicktrix
R.H.                
               
 
L.H.

from Ex. 51-64! from Ex. 51-64!
L.F.
Ex. 67 is an improvisation using various foot patterns taken from Ex. 51-64 in a double-time feel.
Chapter 1: Kicktrix
                               
6 6 6 6 6 6 6 6
R.H.
       
 
L.H.

from Ex. 51-64! from Ex. 51-64!
L.F.
Ex. 68 is an improvisation using various foot patterns taken from Ex. 51-64 in a 16th-note triplet feel.
*Note: This exercise does not For more information visit www.sticktrix.com
appear on the DVD. Chapter 1: Kicktrix
*Exercise 69A: Tempo = 130BPM
R.H.                        
       
 
L.H.
R.F.            
L.F.            
6 6 3 3 6 3 6 6
appear on the DVD. Chapter 1: Kicktrix
*Exercise 69B
"Moonrock" groove
R.H.        
       
 
L.H.
R.F.              
L.F.              
3 3 3 3 3 3 3 3
Subchapter 7: Moonboots
R.H.        
   
 
L.H.
R.F.           
L.F.           
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.            
L.F.          
Chapter 1: Kicktrix
R.H.        
   
 
L.H.
R.F.          
L.F.          
appear on the DVD.
Chapter 1: Kicktrix
Unison 8ths M.P.O - "Accuracy Test"
R.H.        
   
 
L.H.
R.F.        
L.F.        
Jump from kick to hi-hat pedal with each foot. Make sure every stroke and kick is even and played precisely at the same volume.
Chapter 1: Kicktrix
Subchapter 8: Candy For Your Heels
Exercise 74
R.H.        
   
 
L.H.
R.F.        
L.F.        
Chapter 1: Kicktrix
Subchapter 8: Candy For Your Heels Music Engraving by Steve Ferraro
R.H.        
   
 
L.H.
R.F.        
L.F.        
Chapter 1: Kicktrix
Exercise 76
R.H.        
   
 
L.H.
R.F.        
L.F.        
Chapter 1: Kicktrix
Exercise 77
R.H.        
   
 
L.H.
R.F.        
L.F.        
etc.
Chapter 1: Kicktrix
Exercise 78
R.H.        
   
 
L.H.
R.F.          
L.F.          
etc.
6 6
Chapter 1: Kicktrix
Exercise 79
R.H.        
   
 
L.H.
R.F.            
L.F.            
etc.
6 6 6 6
Chapter 1: Kicktrix
Exercise 80
R.H.                
       
 
L.H.
R.F.                
L.F.                
etc.
Start with one-bar patterns and jump onto different pedals every bar. Do this in 16th's and 16th-note triplets, then just "shorten" the phrases.
Chapter 1: Kicktrix
Exercise 81
R.H.        
   
 
L.H.
R.F.         
L.F.         
   
Chapter 1: Kicktrix
Exercise 82
R.H.        
   
 
L.H.
R.F.          
L.F.          
       
Chapter 1: Kicktrix
Exercise 83
R.H.        
   
 
L.H.
R.F.           
L.F.           
    6 6
Chapter 1: Kicktrix
Exercise 84
R.H.        
   
 
L.H.
R.F.          
L.F.          
 
Chapter 1: Kicktrix
Exercise 85
R.H.        
   
 
L.H.
R.F.          
L.F.          
Chapter 2: Coordination, Independence, & Interdependence
Subchapter 9: Tibialis Anterior Music Engraving by Steve Ferraro

 
           
  
Exercise 86
Singles Doubles
  
R.H.
L.H.           
  
                  
R.F.
L.F.                

 
     
          
3's 3's - alternate sticking #1
      
R.H.
L.H.   
etc.
                                     
etc.
R.F.
L.F.

  
               
   
3's - alternate sticking #2 4's - paradiddles
  
R.H.
L.H.         
etc.
R.F.
L.F.                                      

                
            
4's - alternate sticking #1 4's - alternate sticking #2
   
R.H.
L.H.   
R.F.
L.F.                                      

                     
5's 6's - double paradiddles
R.H.              
L.H.
etc.
                     
etc.
R.F.                
L.F.

      etc.            
6's - paradiddle-diddles 7's
            
R.H.
L.H.  
etc.
R.F.
L.F.                                      
2

                    
8's (5 + 3) 8's (3 + 3 + 2)
          
R.H.
L.H.  
                     
R.F.                
L.F.

                
8's - triple paradiddle 8's - (3 + 2 + 3)
          
R.H.
L.H.  
R.F.
L.F.                                      

 
           
  
Exercise 87
Singles Doubles
  
R.H.
L.H.           
  
                  
R.F.
L.F.                
                                     
3's - sticking #1 3's - sticking #2
R.H.
L.H.
etc. etc.
                     
R.F.                
L.F.

                 
4's 5's
        
R.H.
L.H. 
etc.
R.F.
L.F.                                      

                     
6's - double paradiddles 7's
R.H.              
L.H.
etc. etc.
R.F.
L.F.                                      
    
8's (3 + 3 + 2)
R.H.
              
L.H.
R.F.
L.F.                    

Exercise 88
 
           
  
Singles Doubles
  
R.H.
L.H.           
         
       
R.F.
L.F.      
R.H.       
   
Inverted doubles 3's
     
L.H.       
                                     
etc.
R.F.
L.F.

                  
3's - alternate sticking 4's
       
R.H.
L.H. 
                                     
etc.
R.F.
L.F.

                    
4's - paradiddles 4's - alternate sticking
         
R.H.
L.H.   
R.F.
L.F.                                      

                     
R.H.              
L.H.
etc.
         
etc.
       
R.F.
L.F.      

  
7's
      
R.H.
L.H.         
etc.
R.F.
L.F.                    
                                     
Exercise 89
Singles Doubles
R.H.
L.H.
  
    etc.         etc. 
R.F.
L.F.      

 
     
          
3's 3's - alternate sticking
      
R.H.
L.H.   
etc. etc.
  
    etc.         etc. 
R.F.
L.F.      
                                     
4's - paradiddles 5's
R.H.
L.H.
etc.
                                     
R.F. etc. etc.
L.F.

                     
R.H.              
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
Subchapter 9: Tibialis Anterior
Exercise 89 (alternate foot pattern)

 
           
  
Singles Doubles
  
R.H.
L.H.           
                         
R.F.      
etc.      
etc.
L.F.

 
     
          
3's 3's - alternate sticking #1
      
R.H.
L.H.   
etc. etc.
                         
R.F.      
etc.      
etc.
L.F.
                                     
3's - alternate sticking #2 4's - paradiddles
R.H.
L.H.
etc.
                         
R.F.      
etc.      
etc.
L.F.

                         
4's - alternate sticking 5's
R.H.           
L.H.
etc.
                         
R.F.      
etc.      
etc.
L.F.

                     
R.H.              
L.H. etc.
etc.
                                     
etc. etc.
R.F.
L.F.

Exercise 90
 
           
  
Singles Doubles
  
R.H.
L.H.           
             
   
 
R.F. etc. etc.
L.F.

 
        
   
3's 4's - paradiddles
    
R.H.
L.H.       
etc.
             
   
 
R.F. etc. etc.
L.F.

                     
R.H.              
L.H.
etc. etc.
             
   
 
R.F. etc. etc.
L.F.

  
7's
      
R.H.
L.H.         
etc.
   
       
       
R.F. etc.
L.F.

              
Singles Doubles
           
R.H.
L.H.   
                             
R.F.     etc.     etc.
L.F.
                                     
R.H.
L.H.
etc.
                             
R.F.     etc.     etc.
L.F.
2
                                     
R.H.
L.H.
etc. etc.
                                     
R.F. etc. etc.
L.F.

  
7's
      
R.H.
L.H.         
etc.
   
   
           
R.F. etc.
L.F.

              
Singles Doubles
           
R.H.
L.H.   
   
       etc.           etc. 
R.F.
L.F.           
                                     
R.H.
L.H.
etc.
   
       etc.           etc. 
R.F.
L.F.           

   
    
4's - paradiddles (hands shifted one 16th-note)
           
R.H.
L.H.             
etc.
   
               etc. 
R.F.
L.F.               

                     
R.H.              
L.H.
etc. etc.
   
       etc.           etc. 
R.F.
L.F.           
3

  
7's
      
R.H.
L.H.         
   
etc.
       
       
R.F. etc.
L.F.
                                     
Exercise 91
Singles Doubles
R.H.
L.H.
                       
R.F.       
etc.       
etc.
L.F.

 
     
          
      
R.H.
L.H.   
etc. etc.
                       
R.F.       
etc.       
etc.
L.F.
                                     
R.H.
L.H.
etc.
                                     
R.F. etc. etc.
L.F.

                     
R.H.              
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
                                     
Exercise 92
Singles Doubles
R.H.
L.H.
  
     etc.         etc. 
R.F.
L.F.          

 
     
          
      
R.H.
L.H.   
etc. etc.
   
     etc.         etc. 
R.F.
L.F.         

                 
            
R.H.
L.H.   
etc.
   
     etc.         etc. 
R.F.
L.F.         

                     
R.H.              
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
2

              
Singles Doubles
           
R.H.
L.H.   
                     
R.F.       etc.       etc.
L.F.

 
     
          
      
R.H.
L.H.   
etc. etc.
                     
R.F.       etc.       etc.
L.F.

                 
            
R.H.
L.H.   
etc.
                     
R.F.       etc.       etc.
L.F.
                                     
R.H.
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
Subchapter 9: Tibialis Anterior
Exercise 92B (Foot pattern w/MPO)
                                     
Singles Doubles
R.H.
L.H.
  
      etc.          etc. 
R.F.
L.F.            

 
     
          
      
R.H.
L.H.   
etc. etc.
   
      etc.          etc. 
R.F.
L.F.           

                 
            
R.H.
L.H.   
etc.
   
      etc.          etc. 
R.F.
L.F.           

                     
R.H.              
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
                                     
Exercise 93
Singles Doubles
R.H.
L.H.
             
    etc.     etc.
R.F.
L.F.     

 
     
          
      
R.H.
L.H.   
etc. etc.
               
    etc.     etc.
R.F.
L.F.    

                 
            
R.H.
L.H.   
etc.
               
    etc.     etc.
R.F.
L.F.    

                     
R.H.              
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
                                     
Exercise 94
Singles Doubles
R.H.
L.H.
                         
R.F.      etc.      etc.
L.F.

 
     
          
      
R.H.
L.H.   
etc. etc.
                         
R.F.      etc.      etc.
L.F.

                 
            
R.H.
L.H.   
etc.
                         
R.F.      etc.      etc.
L.F.

                     
R.H.              
L.H. etc.
etc.
                                     
R.F. etc. etc.
L.F.
*Note: These exercises do not Chapter 2: Coordination, Independence, & Interdependence
appear on the DVD.
*Exercises 95-96
      
 
9's M.P.O. (4 sounds)
R.F.
L.F. 
            
Play 1-8 patterns & cycles on top of 9/8 M.P.O.
         
10's M.P.O. (4 sounds)
R.F.
L.F. 
             
Play 1-8 patterns & cycles on top of 10/16 M.P.O.
Subchapter 10: Mano A Mano Music Engraving by Steve Ferraro
                                     
Exercise 97
R.H.
L.H.
R.F.
 
          Doubles
        
Singles







  
L.F.

                    
R.H.                
L.H.
  
   etc.  3's - alternate
          
3's     sticking   
  
etc.
R.F.
L.F.

                    
R.H.                
L.H.
                  
  
4's - paradiddles
    
5's
    
etc.
R.F.
L.F.   

                    
R.H.                
L.H.
                                     
 6's - double paradiddles etc. 7's etc.
R.F.
L.F.
                                     
Exercise 98
R.H.
L.H.
R.F.
 
          Doubles
        
Singles







  
L.F.

        
       
R.H.
L.H.      
  
          
3's     sticking   
  
etc.
R.F.
L.F.

        
       
R.H.
L.H.      
                  
  
4's - paradiddles
    
5's
    
etc.
R.F.
L.F.   

        
       
R.H.
L.H.      
                                     
R.F.
L.F.
appear on the DVD. Chapter 2: Coordination, Independence, & Interdependence
                                     
3's *Exercise 99
R.H.
L.H.
etc. etc.
R.F.
 
          Doubles
        
Singles







  
L.F.

                        
R.H.            
L.H.
etc. etc.
  
          
3's     sticking   
  
etc.
R.F.
L.F.

                        
R.H.            
L.H.
etc. etc.
                  
  
4's - paradiddles
    
5's
    
etc.
R.F.
L.F.   

                        
R.H.            
L.H.
etc. etc.
                                     
R.F.
L.F.
                                     
4's - paradiddles *Exercise 100
R.H.
L.H.
R.F.
 
          Doubles
        
Singles







  
L.F.

            
           
R.H.
L.H.      
  
          
3's     sticking   
  
etc.
R.F.
L.F.

            
           
R.H.
L.H.      
                  
  
4's - paradiddles
    
5's
    
etc.
R.F.
L.F.   

            
           
R.H.
L.H.      
                                     
R.F.
L.F.
                                     
5's *Exercise 101
R.H.
L.H.
etc. etc.
R.F.
 
          Doubles
        
Singles







  
L.F.

                      
R.H.              
L.H.
etc. etc.
  
          
3's     sticking   
  
etc.
R.F.
L.F.

                      
R.H.              
L.H.
etc. etc.
                  
  
4's - paradiddles
    
5's
    
etc.
R.F.
L.F.   

                      
R.H.              
L.H.
etc. etc.
                                     
R.F.
L.F.
*Note: This exercise does not Chapter 2: Coordination, Independence, & Interdependence
appear on the DVD.
Subchapter 10: Mano A Mano
*Exercise 102 - Counting Exercise
    
Count & play this:
R.H.
L.H.   
R.F.
 
 1

2

3 1

2

3 1

2

3 1

2

3

L.F.
3 3 3 3
Then count:

  
a)
   
R.H.
L.H.  
R.F.
 
 
1

2

3 4 
1

2 3 
4

1 2 
3

4

L.F.
3 3 3 3

  
b)
R.H.  

 


L.H.
 
etc.

 
 1
 
4
 
2
 
5
 
3
 
2 3 5 1 3 4 1 2 4 5
R.F.
L.F.
3 3 3 3 3

  
c)
R.H.  

 

 


L.H.
 
etc.

                      
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7
R.F.
L.F.
3 3 3 3 3 3 3
NOTES:
> COUNT OUT LOUD while you're playing
> Switch "counting patterns" while you're playing from a) to b) to c) to a) to c) etc.
> Do this with ALL foot-ostinato exercises
Subchapter 11: Independence Day Music Engraving by Steve Ferraro
                                                       
Exercise 103A: Tempo = 210BPM
R.H.
L.F.
L.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

                    
R.H.                
L.F.
  
          
3's     sticking   
  
etc.
L.H.
R.F.

                    
R.H.                
L.F.
                  
  
4's - paradiddles
    
5's
    
etc.
L.H.
R.F.   

                    
R.H.                
L.F.
                                     
L.H.
R.F.
                                                       
L.H.
L.F.
R.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

                    
L.H.                
L.F.
  
          
3's     sticking   
  
etc.
R.H.
R.F.

                    
L.H.                
L.F.
                  
  
4's - paradiddles
    
5's
    
etc.
R.H.
R.F.   

                    
L.H.                
L.F.
                                     
R.H.
R.F.
                               
*Exercise 104A: Tempo = 135BPM
R.H.
L.F.
L.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

        
       
R.H.
L.F.      
  
          
3's     sticking   
  
etc.
L.H.
R.F.

        
       
R.H.
L.F.      
                  
  
4's - paradiddles
    
5's
    
etc.
L.H.
R.F.   

        
       
R.H.
L.F.      
                                     
L.H.
R.F.
                               
L.H.
L.F.
R.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

        
       
L.H.
L.F.      
  
          
3's     sticking   
  
etc.
R.H.
R.F.

        
       
L.H.
L.F.      
                  
  
4's - paradiddles
    
5's
    
etc.
R.H.
R.F.   

        
       
L.H.
L.F.      
                                     
R.H.
R.F.
                                        
3's *Exercise 105A: Tempo = 135BPM
R.H.
L.F.
etc. etc. etc.
L.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

                        
R.H.            
L.F.
etc. etc.
  
          
3's     sticking   
  
etc.
L.H.
R.F.

                        
R.H.            
L.F.
etc. etc.
                  
  
4's - paradiddles
    
5's
    
etc.
L.H.
R.F.   

                        
R.H.            
L.F.
etc. etc.
                                     
L.H.
R.F.
                                        
*Exercise 105B: Tempo = 135BPM
3's
L.H.
L.F.
etc. etc. etc.
R.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

                        
L.H.            
L.F.
etc. etc.
  
          
3's     sticking   
  
etc.
R.H.
R.F.

                        
L.H.            
L.F.
etc. etc.
                  
  
4's - paradiddles
    
5's
    
etc.
R.H.
R.F.   

                        
L.H.            
L.F.
etc. etc.
                                     
R.H.
R.F.
                                           
4's - paradiddles *Exercise 106: Tempo = 135BPM
R.H.
L.F.
L.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

            
           
R.H.
L.F.      
  
          
3's     sticking   
  
etc.
L.H.
R.F.

            
           
R.H.
L.F.      
                  
  
4's - paradiddles
    
5's
    
etc.
L.H.
R.F.   

            
           
R.H.
L.F.      
                                     
L.H.
R.F.
                                               
5's
R.H.
L.F.
etc. etc. etc.
L.H.
 
           Singles
                     
Singles
       Doubles
 (reversed)    
R.F.

                      
R.H.              
L.F.
etc. etc.
  
          
3's     sticking   
  
etc.
L.H.
R.F.

                      
R.H.              
L.F.
etc. etc.
                  
  
4's - paradiddles
    
5's
    
etc.
L.H.
R.F.   

                      
R.H.              
L.F.
etc. etc.
                                     
L.H.
R.F.
       
R.H.
         
L.H.
      
      
R.F.
L.F.        

                  
3 3 3 3
R.H.              
L.H.
      
      
R.F.
L.F.        
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
      
      
R.F.
L.F.        
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                      
Subchapter 12: Hi-Res Rhythms Music Engraving by Steve Ferraro
       
R.H.
         
L.H.
      
      
R.F.
L.F.        

                  
3 3 3 3
R.H.              
L.H.
      
      
R.F.
L.F.        
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
      
      
R.F.
L.F.        
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                      
       
R.H.
         
L.H.
           
           
R.F.
L.F.      
3 3 3 3 3 3 3 3

                  
3 3 3 3
R.H.              
L.H.
           
           
R.F.
L.F.      
3 3 3 3 3 3 3 3
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
           
           
R.F.
L.F.      
3 3 3 3 3 3 3 3
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                              
3 3 3 3 3 3 3 3
       
R.H.
         
L.H.
           
       
R.F.
L.F.          
3 3 3 3 3 3 3 3

                  
3 3 3 3
R.H.              
L.H.
                 
       
R.F.
L.F.    
3 3 3 3 3 3 3 3
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
             
       
R.F.
L.F.        
3 3 3 3 3 3 3 3
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                              
3 3 3 3 3 3 3 3
       
R.H.
         
L.H.
            
           
R.F.
L.F.       

              
3 3 3 3
             
R.H.
L.H.    
             
           
R.F.
L.F.      
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
             
             
R.F.
L.F.       
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                                      
       
R.H.
         
L.H.
                             
R.F.                
L.F.
5 5 5 5 5 5 5 5

              
3 3 3 3
             
R.H.
L.H.    
                             
R.F.                
L.F.
5 5 5 5 5 5 5 5
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
                             
R.F.                
L.F.
5 5 5 5 5 5 5 5
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                                              
5 5 5 5 5 5 5 5
       
R.H.
         
L.H.
                      
R.F.                  
L.F.
6 6 6 6 6 6 6 6

              
3 3 3 3
             
R.H.
L.H.    
                            
R.F.                  
L.F.
6 6 6 6 6 6 6 6
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
                            
R.F.                  
L.F.
6 6 6 6 6 6 6 6
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                                              
6 6 6 6 6 6 6 6
       
R.H.
         
L.H.
                             
R.F.                        
L.F.
7 7 7 7 7 7 7 7

              
3 3 3 3
             
R.H.
L.H.    
                             
R.F.                        
L.F.
7 7 7 7 7 7 7 7
R.H. 
                          
5 5 5 5 6 6 6 6
                     
L.H.
                             
R.F.                        
L.F.
7 7 7 7 7 7 7 7
R.H. 
                                  
7 7 7 7
                             
L.H.
R.F.
L.F.                               
7 7 7 7 7 7 7 7
Subchapter 12: Hi-Res Rhythms
    
R.H.
  
L.H.
                       
R.F.            
L.F.

  
   
R.H.
L.H.    
R.F.
L.F.                                    
R.H.    
3 3 3 3
           
L.H.
                       
R.F.            
L.F.

  
       
R.H.
L.H.        
                       
R.F.            
L.F.

  
5 5 5 5
         
R.H.
L.H.          
R.F.
L.F.                                    

    
6 6 6 6
           
R.H.
L.H.          
R.F.
L.F.                                    
2

      
7 7 7 7
             
R.H.
L.H.          
                       
R.F.            
L.F.

                  
R.H.                
L.H.
R.F.
L.F.                                    
Subchapter 13: Matrushka Doll Music Engraving by Steve Ferraro

                                  
Exercise 117 Exercise 117-120: Tempo = 100BPM
R.H.
                          
3 3 3 3 3 3 3 3
L.H.
   
       
R.F.
L.F.        
                                   
Exercise 118
R.H.
                          
3 3 3 3 3 3 3 3
L.H.
   
       
R.F.
L.F.        

                                  
Exercise 119
R.H.
L.H.                   
       
       
R.F.
L.F.            
3 3 3 3 3 3 3 3
    
Exercise 120
R.H.               
L.H.   Move
            
left hand between different instruments
           
R.F.
L.F.                            
3 3 3 3 3 3 3 3

Exercise 121
                          
Exercise 121-124: Tempo = 100BPM
3 3 3 3 3 3 3 3
R.H.
  Move 
Move right hand between different instruments
L.H.                
      
           
R.F.
L.F.         
3 3 3 3 3 3 3 3
                          
Exercise 122
R.H.   
3 3 3 3 3 3 3 3
          
  Move 
L.H.                
       
             
R.F.
         
       
L.F.
Exercise 123

                          
3 3 3 3 3 3 3 3
R.H.
L.H.                   
Move left hand between different instruments
                           
R.F.                
L.F.
5 5 5 5 5 5 5 5
                                   
Exercise 124
R.H.
                          
3 3 3 3 3 3 3 3
L.H.
                                           
Move right foot between different instruments
R.F.
L.F.
5 5 5 5 5 5 5 5

Exercise 125
  Move
                                
Exercise 125-128: Tempo = 100BPM
R.H.
right hand between different instruments
L.H.   Move
       
        
                           
R.F.                
L.F.
5 5 5 5 5 5 5 5
 
Exercise 126
R.H.                           
3 3 3 3 3 3 3 3
L.H.                                   
                           
R.F.                
L.F.
5 5 5 5 5 5 5 5
Exercise 127

       
R.H.
                                 
  Move right hand between different instruments
L.H.                   
Move left hand between different instruments
                           
R.F.                
L.F.
6 6 6 6 6 6 6 6
Exercise 128

       
 
R.H.                                   
  Move
                        
3 3 3 3 3 3 3 3
L.H.
R.F.
L.F.                                                    
6 6 6 6 6 6 6 6
Subchapter 14: Complete Skin Treatment Music Engraving by Steve Ferraro
       

Exercise 129
  Move 
Exercise 129-132
R.H.        
right hand between different toms
       
L.H.                                   
   
   
R.F.
L.F.    
    

     
Exercise 130
 
R.H.                 
Move right hand between different toms
       

L.H.                                   
   
   
R.F.
L.F.    
   
Exercise 131
 
        
R.H.                     
       

L.H.                                   
   
   
R.F.
L.F.    
 
Exercise 132

          

R.H.                
   
       

L.H.                                   
R.F.
L.F.            
Subchapter 14: Complete Skin Treatment

       
Exercise 133
  Move                     
Exercise 133-136
R.H.         
       
L.H.                                   
   
   
R.F.
L.F.    

          
Exercise 134

R.H.                                   
Move right hand between different toms
       

L.H.                                   
   
   
R.F.
L.F.    
Exercise 135

            
R.H.

  Move
                          
       
L.H.                                   
   
   
R.F.
L.F.    
Exercise 136

             

R.H.                                   
       

L.H.                                   
R.F.
L.F.            
Subchapter 14: Complete Skin Treatment Music Engraving by Steve Ferraro
Exercise 137A-137B
          

Exercise 137A
R.H.                                              
       
etc.
L.H.                                   
R.F.
L.F.            
            
 
Exercise 137B
R.H.                                               

       

L.H.                          
   
   
R.F.
L.F.    
Subchapter 15: Membranophonics Music Engraving by Steve Ferraro
                      
Exercise 138
Singles
R.H.
L.H.
                     
R.F.                         
L.F.

                    
Doubles
R.H.                
L.H.
                     
R.F.                         
L.F.
                                     
R.H.
L.H.
etc.
R.F.
L.F.                                                      

                     
R.H.               
L.H. etc.
etc.
R.F.
L.F.                                                      
Subchapter 15: Membranophonics Music Engraving by Steve Ferraro
                      
Exercise 139
Singles
R.H.
L.H.
                 
                   
R.F.
L.F.        

             
Doubles
               
R.H.
L.H.   
                 
                   
R.F.
L.F.        
                                     
R.H.
L.H.
etc.
R.F.
L.F.                                              

                   
              
R.H.
L.H.  
etc. etc.
R.F.
L.F.                                              
Subchapter 15: Membranophonics
   

Exercise 140
Singles
R.H.
              
L.H.
    
             
R.F.
L.F.             

                  
R.H.                
L.H.
R.F.
L.F.                                

  
Doubles
       
R.H.
L.H.        
      
             
R.F.
L.F.           

    
               
R.H.
L.H.              
      
             
R.F.
L.F.           

                
            
R.H.
L.H.   
etc.
R.F.
L.F.                
Exercise 141
                                     
Singles Doubles
R.H.
L.H.
                             
R.F.        
L.F.
       

      
 
         
R.H.
L.H.          
etc. etc.
                             
R.F.        
L.F.
       
                                     
R.H.
L.H.
etc.
R.F.
L.F.                                      
       

                  
             
R.H.
L.H.   
etc. etc.
R.F.
L.F.                                      
       
Exercise 142
R.H.                             
Singles 3 3 3 3 Doubles 3 3 3 3
L.H. 
     
                         
     
Flam accent foot ostinato (MPO)
R.F.
L.F. R R
L L
3 3 3 3 3 3 3 3
R L R L R L R L R L R L

         
3 3 3 3 3 3 3 3
         
R.H.
L.H.         
     
                         
R.F.        
L.F.
3 3 3 3 3 3 3 3
5's
R.H. 
4's - paradiddles
                           
3 3 3 3 3 3 3 3
L.H. 
etc. etc.
R.F.
L.F.                                      
3 3 3 3 3 3 3 3
R.H. 
     
 
3 3 3 3 3 3 3 3
          
L.H.          
etc. etc.
R.F.
L.F.                                      
3 3 3 3 3 3 3 3
*Note: These exercises For more information visit www.sticktrix.com
do not appear on the Chapter 2: Coordination, Independence, & Interdependence Music Engraving by
DVD.
Subchapter 15: Membranophonics Steve Ferraro
*Exercises 143-150
For each exercise, play patterns 1-8 in mixed note rates over the top of the written ostinato.
                 

Exercise 143 Exercise 144
R.F.
L.F.
  
Exercise 145
      
L.H.
L.F.         
                      
Exercise 146 - M.P.O.
R.F.
L.F.
                                  
Exercise 147
L.H.
L.F.
   
Exercise 148
L.H.
              
L.F.
   
Exercise 149
R.F.       
L.F.
3
3
   
Exercise 150
          
L.H.
R.H.              
Subchapter 16: Layer Cake
                                     
Singles Doubles
R.H.
L.H.
R.F.
L.F.                  
Also, solo and improvise using your other three limbs!

 
     
          
      
R.H.
L.H.   
etc. etc.
R.F.
L.F.                  
                                     
R.H.
L.H.
etc.
R.F.
L.F.                  

                     
R.H.              
L.H. etc.
etc.
R.F.
L.F.                  
R.H.                             
Singles 3 3 3 3 Doubles 3 3 3 3
L.H. 
R.F.
L.F.                              
3 3 3 3 3 3 3 3

           
3 3 3 3 3 3 3 3
         
R.H.
L.H.       
R.F.
L.F.                              
3 3 3 3 3 3 3 3
5's
R.H. 
4's - paradiddles
                           
3 3 3 3 3 3 3 3
L.H. 
etc. etc.
R.F.
L.F.                              
3 3 3 3 3 3 3 3
R.H. 
     
 
3 3 3 3 3 3 3 3
          
L.H.          
etc. etc.
R.F.
L.F.                              
3 3 3 3 3 3 3 3
                                     
Singles Doubles
R.H.
L.H.
R.F.
L.F.                        

 
     
          
      
R.H.
L.H.   
etc. etc.
R.F.
L.F.                        
                                     
R.H.
L.H.
etc.
R.F.
L.F.                        

                     
R.H.              
L.H. etc.
etc.
R.F.
L.F.                        
*Note: This exercise does not Chapter 2: Coordination, Independence, & Interdependence
appear on the DVD. Subchapter 16: Layer Cake
                                     
Singles Doubles
R.H.
L.H.
R.F.
 

5's

etc.

 
                 
etc.
L.F.  
Also, solo and groove against 5's foot ostinato.

 
     
          
      
R.H.
L.H.   
etc. etc.
R.F. 

                
etc.

 
                 
etc.
L.F.  
                                     
R.H.
L.H.
etc.
R.F. 

                
etc.

 
                 
etc.
L.F.  

                     
R.H.              
L.H. etc.
etc.
                                     
etc. etc.
R.F.
L.F.  
Subchapter 16: Layer Cake Music Engraving by Steve Ferraro
*Exercise 155
R.H.                            
L.H.
R.F.
L.F.    
Improvise/solo with your left hand and both feet!
Exercise 156
                           
Play the left-hand ostinato on two instruments...
R.H.
L.H.
R.F.
L.F.    
Improvise/solo with your right hand and both feet!
*Exercise 157
                                                   
Flam taps
R.H.
L.H.
R.F.
L.F.    
Improvise/solo with your feet!
*Exercise 158
L.H.                                    
L.F.
R.H.
R.F.    
Improvise/solo with your right hand and right foot!
*Exercise 159
Triplet feel - "shuffle" hand ostinato on 2 instruments
R.H.                          

 
3 3 3 3 3 3 3 3
L.H.      
R.F.
L.F.    
Feet play 1-8 cycles under this ostinato incorporating mixed note rates.
*Exercise 160
   
Left-hand ostinato: 2 instruments, press roll.
R.H.
               
L.H.
               
R.F.
L.F.    
Play 1-8 mixed-note-rate cycles and improvise against this ostinato.
*Exercise 161
                                   
2 sounds/instruments - left hand & left foot flam-tap ostinato:
L.H.
L.F.
R.H.
R.F.    
Solor over/against this. 1-8 mixed note rate cycles, etc.
Chapter 3: Modern Playing Concepts
Subchapter 17: Brave New Beats Music Engraving by Steve Ferraro
Exercise 162
                       
R.H.
L.H.    
   
           
   
R.F.
L.F.        
Exercise 163
        
   
                  
R.H.
L.H.    
   
             
   
R.F.
L.F.      
Exercise 163A Long: Tempo 115BMP
                       
R.H.
L.H.    
   
             
   
R.F.
L.F.      
Exercise 163B Long: Tempo = 115BPM
                   
R.H.
L.H.    
                        
R.F.
L.F.                   
Exercise 164
R.H.                                
6 6 6 6 6 6 6 6
L.H.     
                        
R.F.
L.F.                   
6 6 6 6 6 6 6 6
                   
R.H.
L.H.    
           
R.F.
L.F.                    
Exercise 166
                                   
6 6 6 6 6 6 6 6
R.H.
L.H.    
               
                  
R.F. 
L.F.
6 6 6 6 6 6 6 6
Exercise 167
                                           
6 6 6 6 6 6 6 6
R.H.
L.H.
                
R.F.
L.F.                   
6 6 6 6 6 6 6 6
Exercise 168
R.H.                           
3 3 3 3 3 3 3 3
L.H.     
               
        

R.F.
L.F.  
3 3 3 3 3 3 3 3
Chapter 3: Modern Playing Concepts Music Engraving by Steve Ferraro
Subchapter 17: Brave New Beats
Exercise 169
R.H.                
   
 
L.H.
R.F.      
L.F.                          
R.H.        
        
   
R.F.
L.H.                
L.F.                
     
6 6 6 6
R.H.      
   
 
R.F.
L.H.            
L.F.            
6 6 6 6
Subchapter 18: Blast Off - Economy Versus Business-Class Music Engraving by Steve Ferraro
Exercise 172A-172B: Tempo = 200BPM
   
Exercise 172A
R.H.
               
L.H.
   
R.F.        
L.F.

Exercise 172B
  
       
R.H.
L.H.        
   
   
R.F.
L.F.    
R.H.                   
L.H.
  
   
R.F.
L.F.    
         
R.H.
L.H.     
R.F.
















 
L.F.
*Note: Exercise 174 appears twice in the DVD. This PDF file contains both versions.
Ex. 174 (first version)
R.H.                   
L.H.
  
       
R.F.
L.F.        
R.H.         
L.H.

       
R.F.
L.F.        
R.H.          
L.H.
R.F.
                 
L.F.
2
Ex. 174 (second version)

      
               
R.H.
L.H.        
    
           
R.F.
L.F.           
Exercise 175A-175B: Tempo = 220BPM
Exercise 175A
R.H.                
L.H.
   
       
R.F.
L.F.    
Exercise 175B

  
   
R.H.
L.H.    
    
       
R.F.
L.F.   
q=300
R.H.            
L.H.
   
       
R.F.
L.F.    
Exercise 177A-D: Tempo = 220BPM
   
Exercise 177A
R.H.
       
L.H.
   
       
R.F.
L.F.        

Exercise 177B
  
       
R.H.
L.H.        
   
       
R.F.
L.F.        
Exercise 177C

  
* Note: this exercise is incorrectly labeled 177D in the video.
       
R.H.
L.H.    
   
       
R.F.
L.F.        
Exercise 177D
* Note: this exercise is incorrectly labeled 177E in the video.

  
   
R.H.
L.H.    
R.F.
L.F.                    
The Formula
Step 1: First Dimension*
L R
L R
1’s: Singles RLRLRLRL 1-8 Over Foot Ostinato

2’s: Doubles RRLLRRLL 1-8 Over Foot Ostinato
3’s: RRR-LLL, RLL, LRR 1-8 Over Foot Ostinato
4’s: RRRR-LLLL, RRRL, LLLR 1-8 Over Foot Ostinato
5’s: RLRLL, LRLRR, RLRRL, LRRLR 1-8 Over Foot Ostinato
6’s: RLRLRR-LRLRLL, RLRRLL, LRLLRR 1-8 Over Foot Ostinato
7’s: RLRLRLL, LRLRLRR, RLLRRLL, LRRLLRR 1-8 Over Foot Ostinato
8’s: Combinations 8=6+2, 5+3, etc. 1-8 Over Foot Ostinato
... ...
9’s: Combinations 9=5+4, 2+7, etc. 1-8 or more. . .
10’s: Combinations 10=7+3, 6+4, 3+5+2, etc. 1-8 or more. . .
15’s: Combinations 15=3x5, 7+8, 9+6, etc. 1-8 or more. . .
*Reverse All Stickings, Incorporate Orchestration, and Count In Both Time Signatures
The Formula
Step 2: Second Dimension*
L R
L R
1’s: Singles RLRLRLRL 1-8 Over Hand Ostinato

2’s: Doubles RRLLRRLL 1-8 Over Hand Ostinato
3’s: RRR-LLL, RLL, LRR 1-8 Over Hand Ostinato
4’s: RRRR-LLLL, RRRL, LLLR 1-8 Over Hand Ostinato
5’s: RLRLL, LRLRR, RLRRL, LRRLR 1-8 Over Hand Ostinato
6’s: RLRLRR-LRLRLL, RLRRLL, LRLLRR 1-8 Over Hand Ostinato
7’s: RLRLRLL, LRLRLRR, RLLRRLL, LRRLLRR 1-8 Over Hand Ostinato
8’s: Combinations 8=6+2, 5+3, etc. 1-8 Over Hand Ostinato
... ...
The Formula
Step 3: Third Dimension*
R L L R L R R L
R R L L L LL R R
1’s: Singles RLRLRLRL 1-8 Over Hand/Foot Ostinato

2’s: Doubles RRLLRRLL 1-8 Over Hand/Foot Ostinato
3’s: RRR-LLL, RLL, LRR 1-8 Over Hand/Foot Ostinato
4’s: RRRR-LLLL, RRRL, LLLR 1-8 Over Hand/Foot Ostinato
5’s: RLRLL, LRLRR, RLRRL, LRRLR 1-8 Over Hand/Foot Ostinato
6’s: RLRLRR-LRLRLL, RLRRLL, LRLLRR 1-8 Over Hand/Foot Ostinato
7’s: RLRLRLL, LRLRLRR, RLLRRLL, LRRLLRR 1-8 Over Hand/Foot Ostinato
8’s: Combinations 8=6+2, 5+3, etc. 1-8 Over Hand/Foot Ostinato
... ...
The Formula
Step 4: Fourth Dimension*
L R R L L R L R R L
R L R L L L R L L R R
1’s: Singles RLRLRLRL (FULL NOTE) 1-8 Over Hand/Foot Ostinato

2’s: Doubles RRLLRRLL (HALF NOTE) 1-8 Over Hand/Foot Ostinato
3’s: RRR-LLL, RLL, LRR (TRIPLET) 1-8 Over Hand/Foot Ostinato R
4’s: RRRR-LLLL, RRRL, LLLR 1-8 Over Hand/Foot Ostinato
5’s: RLRLL, LRLRR, RLRRL, LRRLR 1-8 Over Hand/Foot Ostinato
6’s: RLRLRR-LRLRLL, RLRRLL, LRLLRR 1-8 Over Hand/Foot Ostinato
7’s: RLRLRLL, LRLRLRR, RLLRRLL, LRRLLRR 1-8 Over Hand/Foot Ostinato
... ...
*Reverse All Stickings, Incorporate Orchestration, Count In Both Time Signatures, and Mix Note Rates
The Formula
Step 5: Fifth Dimension*
L R R L L L R L R R L
R R L L L R L L R R
1’s: Singles R-R-R-R 1-8 Over Hand/Foot Ostinato

2’s: Doubles RR--RR--RR--RR 1-8 Over Hand/Foot Ostinato
3’s: RRR---, R--, -RR 1-8 Over Hand/Foot Ostinato
4’s: RRRR----, RRR-, ---R 1-8 Over Hand/Foot Ostinato
5’s: R-R--, -R-RR, R-RR-, -RR-R 1-8 Over Hand/Foot Ostinato
6’s: R-R-RR -R-R--, R-RR--, -R--RR 1-8 Over Hand/Foot Ostinato
7’s: R-R-R--, -R-R-RR, R--RR--, -RR--RR 1-8 Over Hand/Foot Ostinato
... ...
*Reverse All Stickings, Incorporate Orchestration, Count In All Four Time Signatures, and Mix Note Rates
The “FORMULA” - A simple matrix to practice
coordination and independence of hands and feet
using alternating strokes of the same note rate in
different time signatures.
www.hudsonmusic.com
Introduction
These are the basic sticking patterns used for both hands and feet. I refer to the
whole set of patterns – all groupings and cycles of stickings from 1 through 8 –
simply as “1 to 8”.
Groups Of Notes Example Sticking Patterns

1 Singles RLRLRLRL, LRLRLRLR
2 Doubles RRLLRRLL, LLRRLLRR
3 All permutations of the RRR-LLL, RLL, LRR, RRL, LLR
stickings of groups of 3
4 Paradiddles, paradiddle RRRR, LLLL, RRRL, LLLR, RLLL, LRRR,
inversions and variations RLRR-LRLL
5 All permutations of the RLRLL, LRLRR, RLLRL, LRRLR, RLRRL,
stickings of groups of 5 LRLLR
6 Double paradiddles, RLRLRR-LRLRLL, RLRRLL, LRLLRR,
paradiddle-diddles, all RLLRLR-LRRLRL, RLLRRL, LRRLLR
permutations of the
stickings of groups of 6
7 All permutations of the RLRLRLL, LRLRLRR, RLLRRLL, LRRLLRR,
stickings of groups of 7 RLLRLRL, LRRLRLR
8* Combinations of any of the (6 + 2) RLRLRRLL, (5 + 3)RLRLLRRR-
previous “subcycles” LRLRRLLL
9* 5 + 4, 2 + 7, etc. RLRLLRLRR-LRLRRLRLL, RLRLRLRLL,
LRLRLRLRR
10* 7 + 3, 6 + 4, 3 + 5 + 2, RLRLRLLRLL, LRLRLRRLRR, RLRLRRLRLL,
etc. LRLRLLRLRR, RLLRLRLLRR-LRRLRLRRLL
11* 5 + 6, 7 + 4, etc. RLRLLRLRRLL, LRLRRLRLLRR,
RLRLLRLRLRR-LRLRRLRLRLL,
RLRLRLLRRLL, LRLRLRRLLRR
15* 5 + 5 + 5, 7 + 8, 9 + 6, RLRLLRLRLLRRLLR-LRLRRLRLRRLLRRL,
etc. RLRLRLLRRLLRRLL, LRLRLRRLLRRLLRR,
RLLRLLRLLRLRLRR-LRRLRRLRRLRLRLL
*Note: longer phrases are contructed by simply stringing together smaller subcycles.
To practice these, always play one pattern as an ostinato phrase with your feet, and
then “1 to 8” on top of that with your hands.
For example: feet play 3’s, hand play 1’s, then 2’s, then 3’s, 4’s … 8’s (and beyond)
on top of the foot ostinato in 3.
I will now describe briefly each of the 5 “dimensions” that the formula consists of.
Please refer to the poster or the individual pdf files for each dimension for further
information.
Step 1: The 1st Dimension*

To practice the first dimension exercises, you should play each of the “1 to 8”
patterns as an ostinato with your feet, while then playing each of the “1 to 8”
patterns (and beyond) against them with your hands.
After finishing all of these exercises, you will have combined every possible cycle and
alternating sticking hand-combination with every other possible foot-combination;
you will have learned to play all odd and even time signatures; you will have learned
to play all odd and even cycles in all odd and even time signatures; and, you will
have practiced hand and foot technique, coordination, interdependence and
independence, counting and timing, and dynamics and accuracy of layered rhythms.
Step 2: The 2nd Dimension (Reverse Hand & Foot

Patterns)*
To practice the second dimension exercises, you should play each of the “1 to 8”
patterns as an ostinato with your hands, while then playing each of the “1 to 8”
patterns (and beyond) against that with your feet.
*Note: You will encounter identical combinations in different “incarnations” during

steps 1 and 2. In fact, one in every 8 exercises reappears in the next set of 8
exercises as an inverted example. This means every 256 exercises you can “skip” 32
exercises since you’ve already practiced them before.
Step 3: The 3rd Dimension (Cross-Diagonal

Coordination)
The 3rd dimension takes the difficulty level up another degree. This set of exercises is
a challenging workout; there are no limits to how far you can take this.
In Step 3, you should play each of the “1 to 8” stickings (and beyond) split up
between two limbs while then playing all of the “1 to 8” patterns against these with
the remaining two limbs. The difference between this step and the previous steps is
that the two limbs playing the pattern together should consist of one hand and one
foot. There are four unique hand/foot combinations that you can use. The following
table lists all combinations that should be practiced:
Use these limbs… Played against these limbs…

Right hand, right foot Left hand, left foot
Right hand, left foot Left hand, right foot
Left hand, left foot Right hand, right foot
Left hand, right foot Right hand, left foot
Step 4: The 4th Dimension (Mixed Note Rates)
Up until now, all notes played have been of the same type/duration (e.g. 16th-notes
against 16th-notes). This step again increases the diffculty level by introducing
different “note rates” for each of the “1 to 8” patterns played, such as triplets against
8th-notes, or quintuplets against 16th-notes.
Here, start by phrasing each sticking cycle as a group per bar, and then per quarter-
note. For example, sticking groups of 3 should be played as triplets; groups of 5 as
quintuplets; groups of 7 as septuplets, etc.
Then play each group at different note rates. For example: 3’s foot pattern as
quarter-note triplets, then as 8th-note triplets, then as 16th-note triplets. Do the
same with all the hand patterns that you’re playing on top of the foot ostinatos.
Practicing these exercises takes a fair amount of creative input on your part. Make
up your own musical phrases and create your own patterns and cycles to practice.
Play to a quarter-note click-track or metronome. If you experiment with this concept
you will find it not only helps your independence and coordination, but it hugely
affects your perception of time, groove, feel and note-rate/value; especially the
space between the notes is what becomes important here.
Step 5: The 5th Dimension (Partial Layers)

Step 5 is the most challenging of all the steps so far: “partial layers” at mixed note-
rates in 4-way orchestrated polymetric coordination. To practice these exercises,
take any of the sticking patterns “1 to 8”, and play only one hand (or foot) part of
the sticking. With the other hand (or foot) play a different “half” of a sticking.
Take, for example, the following sticking pattern of 5, played RLRLL, RLRLL…
Now, the left hand “drops out” to leave only R-R--, R-R--
The left hand, which is now “free” plays the “left half” of another sticking pattern on
top of the 5’s: -LL, -LL, -LL, -LL (which would be the “left half” of a group of 3 that
would normally be played RLL, RLL, RLL, for example).
After practicing this with all sticking patterns “1 to 8”, change the note rate of each
layer individually. Remember to do this with both hands and feet!
This is the most extreme level of independence and coordination. Add orchestration
to these exercises to add yet another challenge. It is highly advanced and complex
but this is also the limit to where we can take drumming today!

Thomas Lang - Creative Coordination & Advanced Foot Technique

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Thomas Lang: Creative Coordination &

Advanced Foot Technique

Maintain strong back-beat

Subchapter 1: Foot Massage

Subchapter 1: Foot Massage

Subchapter 1: Foot Massage

Subchapter 1: Foot Massage

Subchapter 1: Foot Massage

Subchapter 1: Foot Massage

L.F.    

L.F.          

L.F.            

L.F.              

L.F.                

L.F.                

L.F.                  

L.F.                

L.F.                

L.F.                  

L.F.                

Switch feet to a different pedal each quarter-note.

R.F. Improvise foot patterns Improvise foot patterns

R.F. Improvise foot patterns Improvise foot patterns

R.F. Improvise foot patterns

Also reverse foot pattern: LRR, LRR, LRR, LRR, ...

Subchapter 4: Foot Fetish

Subchapter 4: Foot Fetish

Subchapter 4: Foot Fetish

Exercise 45: Tempo = 215BPM

Exercise 46: Tempo = 215BPM

Exercise 47: Tempo = 215BPM

Exercise 48: Tempo = 220BPM

Exercise 49: Tempo = 220BPM

Exercise 50: Tempo = 220BPM

Exercise 52: Tempo = 210BPM

Exercise 55: Tempo = 210BPM

Exercise 56: Tempo = 210BPM

Exercise 57: Tempo = 210BPM

Exercise 62: Tempo = 210BPM

Exercise 63: Tempo = 210BPM

R.F. Improvise foot patterns Improvise foot patterns

R.F. Improvise foot patterns Improvise foot patterns

R.F. Improvise foot patterns Improvise foot patterns

Exercise 68: Tempo = 130BPM

R.F. Improvise foot patterns Improvise foot patterns

*Exercise 69A: Tempo = 130BPM

Chapter 1: Kicktrix Music Engraving by Steve Ferraro

R.F.           

L.F.           

R.F.            

L.F.          

R.F.          

L.F.          

Exercise 75: Tempo = 105BPM

Move right hand between different instruments

                 

Triplet feel - "shuffle" hand ostinato on 2 instruments

Exercise 172A-172B: Tempo = 200BPM

Exercise 173: Tempo = 200BPM

Exercise 174: Tempo = 220BPM