the components of rhythm and drum technique

DRUMMING
PATTERNS by chuck braman

DRUMSTROKE PUBLICATIONS
2 3

Praise for Drumming Patterns About Drumming Patterns

Magazines: Celebrities: Readers: Drumming Patterns is an encyclopedia of technique. Its approach is broad; the material it
“The approach is broad-based, inte- “Drumming Patterns explores every “I am currently borrowing Drumming
grating rhythm, styles and tech- area of drumming. This creative, valu- Patterns from my local library, presents ranges from basic stick technique to advanced drumset techniques in a variety of
niques into a unified, comprehensive able book is for every drummer’s which I find fantastic! I am a beginning styles. It is not intended to be a method book to be practiced strictly from beginning to end,
system. The commitment, both in time library.” drummer who finds this book so acces-
and thought, that Mr. Braman has made —Louie Bellson, drummer sible and approachable to use. I love
but rather a reference book to be practiced selectively according to each reader’s interests
to this book will be obvious to anyone (Duke Ellington, Count Basie) the format. It invites the reader, and and level of ability. Because of the breadth of its content, it may be approached in several
who studies its contents. Drumming takes him/her by the hand, carefully different time frames throughout the reader’s life, rather than worked through and completed
Patterns is an impressive publication” “All drummers, regardless of their and slowly strolling through the con-
—Percussive Notes level of ability, will profit from study- cepts. There is no room for confusion. in any particular timespan.
ing this book. Drumming Patterns’ Your book is great!” Because Drumming Patterns illustrates a system with a theoretical foundation, this
“… a systematic presentation of practice unique approach is to be applauded.” —Joanna Tu, Redondo Beach, CA
materials that can be used in much the —John Beck, Former president of the
foundation is described in the Preface, the Introduction, in Appendixes I and II, and in the
same way that other instrumentalists Percussive Arts Society, “Your book is extremely help- introductory video at DrummingPatterns.com/book. It is the author’s belief that a conscious
use scale and arpeggio systems.” Chairman of Percussion at the ful. I highly appreciate the kind of understanding of the theory behind Drumming Patterns, as well as a theoretical understand-
—Kansas Music Review Eastman School of Music exhaustive analysis that you have taken
on here. Do you have any recordings ing of drum technique and rhythm in general, will enhance the reader’s comprehension of
“An outstanding book for developing “Extremely valuable… shows great available? I would love to hear what the material and further his musicianship as well. However, not all drummers are oriented
stick and limb control.” insight into the mechanics of drum you have been able to unleash with
—Downbeat Magazine technique.” the kind of background you appear
towards theory; some prefer instead to learn through direct application. These readers are
—Jim Chapin, author, to have.” advised to skip both the introduction and appendixes and proceed with the text beginning on
“Chuck Braman did a fantastic job with “Advanced Techniques for —James Musser, Lomita, CA page 16.
Drumming Patterns, and I heavily the Modern Drummer.”
recommend this book for everyone “Drumming Patterns is very thorough,
who wants to work seriously on the A wonderful resource for stretching very comprehensive and beautifully
drumset.” the technical and musical imagination!” produced. I have seen several books
—Rimshot Magazine —Ed Soph, on the subject and yours appears to be
Percussive Arts Society Hall of Fame the best.”
“Extremely clear and very well —David Cole, New Carrollton
notated… the fold-out pages are an
excellent idea that works well… the
appendixes include a lot of good con-
ceptual ideas on drumming… an excel-
lent book.”
—Modern Drummer

“If you enjoy taking an idea to the

nth degree of possibility, check this
book out.”
—Rhythm Magazine
4 5

Dedication:
This book is dedicated to the memory of Paul Motian,
Contents
whose music has provided some of my life’s greatest pleasures. About Drumming Patterns 3
Preface 6
Introduction 8

Part I: Snare Drum Patterns 13

Sticking Patterns 16
Embellishment Patterns 40
Acknowledgements: Accent Patterns 46
Flam Patterns 52
I would like to express my sincere gratitude to Dr. Peter Webster, Troy Sartain,
Single Stroke Patterns 64
and the students and faculty of the Case Western Reserve University Music and Technology
Double/Buzz Stroke Patterns 70
Lab for the generous use of their equipment during the production of this book; Chip Stephens,
Introduction To Roll Patterns 82
Bob Fraser, Ray Parker, Bill Braman, Glen Schaft, Mike Wahl, Mark Gridley, John Richmond,
Short Roll Patterns 84
Audrey Braman, Gary Aprile, Henry Avellone, Dave Brewer, Bob McKee, Tom Fries, Val Kent,
Alternating Roll Patterns 88
Don Friedman, Ed Bobick, George Judy, Skip Hadden, Jennifer Stepien, Ron Godale,
Kyp Volans, Maureen Sickler, Scott Kenya, Joe Brigandi, Andy Green, and especially
Troy Sartain, Dave Norris, Barbara Samuels, and Gary Baker for their editing and re-writing Part II: Drum Set Patterns 95
suggestions; Tim Yamasaki for generously providing a meticulous proofreading of the digital Notation Key 96
edition while offering many insightful suggestions; Charlie Ross of Ross Printing in Cleveland, Patterns with Single and Triple Strokes 102
Ohio for his extraordinary patience in dealing with a perfectionist and his extraordinary Rock/Funk Patterns 108
competence in achieving perfection; and Mike Wahl for introducing me to the philosophy Jazz Patterns 116
of Ayn Rand and Rand’s novel “The Fountainhead,” which helped provide me Brazilian Patterns 132
with the will and the confidence to pursue this project. Non-Independent Patterns 138
Solo Patterns 144

Appendixes 159
APPENDIX I: Organization of Patterns/Labeling System 160
APPENDIX II: Determining a Pattern’s Utility 164
APPENDIX III: Listening/Practicing/Playing 168
APPENDIX IV: Listening And Transcribing: Learning
Conceived, written, edited, and designed by Chuck Braman
From Others While Thinking For Yourself 170
Copyright © 1988, 2021 by Chuck Braman
International Copyright Secured
Made in U.S.A. All Rights Reserved
For ordering information visit DrummingPatterns.com
6 7

Preface
Through the years people have created systems in every discipline, from science to mathe-
matics and music. In music, the system of musical harmony provides a theoretical basis for
musical creation. It also provides tools, such as scales and arpeggios, which form the basis
of most non-drummer’s technical studies.
Without such a system, harmonic music as we know it would not exist. In addition, the
level of technical development now commonly attained on melodic and harmonic instru-
ments could not have been achieved. It is odd, then, that in these centuries of development
no such system has emerged to define rhythmic theory and drum technique.
Drumming Patterns represents the discovery, identification, and organization of this
system. It integrates the fundamental patterns of rhythm with the fundamental technical
patterns used in drumming since the underlying patterns for each are the same. It is based
partially on elements that for years have been used, in a non-systematic fashion, in the drum
rudiments, and in previously published drumming textbooks such as Stick Control.

Drumming Patterns represents:

• The identification of the fundamental patterns of technique used in previous materials
• The elimination of the non-essential patterns of technique used in previous materials
• The progressive arrangement of the fundamental patterns
• The filling-in of the gaps between identified fundamental patterns with previously
unidentified fundamental patterns
• The elimination of all non-essential elements of presentation
• A method for converting technical patterns into rhythmic patterns, and vice versa

Drum technique is traditionally taught as consisting of several unrelated branches. Some

approaches are limited to only snare drum technique. Others may deal with the whole drum-
set but focus only on rock music or jazz. Still others focus on particular aspects of playing,
such as soloing or “filling.” Drumming Patterns is the first presentation of the system that
isolates the underlying patterns common to all branches, then links the branches via these
patterns, thereby integrating both rhythm and technique. By virtue of this approach, it pro-
vides a single, straight, unbroken path in place of many smaller, crooked, and broken ones.
Drumming Patterns is an encyclopedia of technique and rhythm, rather than a method
book to be practiced from beginning to end. Because it identifies the basic building blocks of
rhythm and drum technique, Drumming Patterns is intended for all drummers, from begin-
ning students to advanced professionals.
8 9

Introduction LENGTH COMBINATIONS

TWO DIGITS R+L

The components of rhythm and the components of drum technique are not random or arbi- THREE DIGITS R+LL
trary, but specific and objective. They are based on a progression of patterns which for both L+RR
technique and rhythm are the same. FOUR DIGITS RR+LL
Drum technique may be divided into two categories: stick technique and drum set FIVE DIGITS R+L+R+LL
technique. Although the components of both are similar, stick technique is more basic since L+R+L+RR
it involves only two limbs (hands) at a time, as opposed to the four limbs (hands and feet) SIX DIGITS R+L+RR+LL
required to play a full drum set. Therefore, let us define the fundamental components of stick L+R+LL+RR
technique. 1 SEVEN DIGITS R+L+R+L+R+LL
Stick technique is comprised of strokes, in which a drumstick strikes a drum head. There L+R+L+R+L+RR
are two basic kinds of strokes: single strokes, in which the stick rebounds once off the drum- R+LL+RR+LL
head; and double strokes, in which the stick rebounds twice off the drumhead. L+RR+LL+RR
Single or double strokes may be executed with either the right stick or the left stick. This EIGHT DIGITS R+L+RR+L+R+LL
means that there are four fundamental units of stick technique: R+L+R+L+RR+LL
L+R+L+R+LL+RR
1) A right-handed single stroke (R)
R+L+R+LL+R+LL
2) A left-handed single stroke (L)
L+R+L+RR+L+RR
3) A right-handed double stroke (RR)
NINE DIGITS R+L+R+L+R+L+R+LL
4) A left-handed double stroke (LL)
L+R+L+R+L+R+L+RR
Once these four fundamental units of stick technique have been identified, it is possible R+L+R+LL+RR+LL
to identify all their possible combinations, as well as to create a mathematical progression L+R+L+RR+LL+RR
organizing all the combinations from shortest to longest (up to nine digits in length). This is R+L+RR+LL+R+LL
illustrated on the facing page. L+R+LL+RR+L+RR
R+L+RR+L+RR+LL
L+R+LL+R+LL+RR

In addition to these, there are four longer combinations which are also fundamental:
TEN DIGITS R+LL+RR+L+RR+LL
TWELVE DIGITS R+L+R+L+RR+L+R+L+R+LL
R+L+R+L+R+LL+R+L+R+LL
L+R+L+R+L+RR+L+R+L+RR

Together, these patterns comprise all the fundamental units of technique available to
drummers, arranged from shortest to longest, simplest to most complex, most practical to
most esoteric. 1 Part I of Drumming Patterns is based on the systematic presentation of these
patterns and their embellishments.
1. Can you think of more patterns within each given length than the ones listed? These are not actually different
patterns, but rather are inversions of the patterns listed above. For more information, refer to item 3, “Inversions,”
1. For a discussion of the essentials of drumset technique, refer to the introduction to Part II on page 97. in Appendix I, page 162
10 DRUMMING PATTERNS Introduction 11

Like technique, rhythm can also be broken down into its most fundamental components. The preceding diagram illustrates the fact that the fundamental patterns underlying both
These components are based on the same progression of patterns that underlie the stickings stickings and rhythms are the same.
illustrated on the previous page, converted into rhythmic notations. (It is the abstract concept of the underlying patterns that is essential to grasp, not the con-
To do this, simply substitute a note for each “R,” and a rest for each “L.” (We will now crete form that these patterns take. For example, exactly the same underlying patterns could
also add repeat signs since patterns tend to be repeated.) take any number of concrete forms, including, but not limited to, stickings, notes and rests
(of any duration: eighth-note, quarter-note, half-note, etc; superimposed over beats with any
STICKING RHYTHM number of subdivisions: duple, triple, quadruple, quintuple, etc.; and spread over time signa-
𝄆 R L 𝄇 becomes: 𝄆      𝄇 tures of any meters—2/4, 4/4, 3/4 5/4, 6/8, 12/8, etc.), and the boxes and circles illustrating
𝄆 R L L 𝄇 becomes: 𝄆        𝄇 the front cover. Thus, the preceding diagram should not be interpreted as being a concrete
𝄆 L R R 𝄇 becomes: 𝄆        𝄇 instruction for how to play the stickings, with right strokes equaling eighth-note notes and
𝄆 R R L L 𝄇 becomes: 𝄆          𝄇 left strokes equaling eight-note rests, but rather, as an illustration of the abstract one-to-one
𝄆 R L R L L 𝄇 becomes: 𝄆            𝄇 correlation of patterns that underly both the most fundamental sticking patterns and the most
𝄆 L R L R R 𝄇 becomes: 𝄆            𝄇 fundamental rhythmic patterns, i.e., the takeaway is that the underlying patterns are one and
𝄆 R L R R L L 𝄇 becomes: 𝄆              𝄇 the same.)
𝄆 L R L L R R 𝄇 becomes: 𝄆              𝄇 Thus, this small progression of patterns underlies all of the basic components of stick
𝄆 R L R L R L L 𝄇 becomes: 𝄆                𝄇 technique, drumset technique, and rhythm. In one form or another and throughout history,
𝄆 L R L R L R R 𝄇 becomes: 𝄆                𝄇 every drummer in every part of the world deals with these patterns every time they make
𝄆 R L L R R L L 𝄇 becomes: 𝄆                𝄇 music. It is this progression of patterns and their applications that underlie all the material,
𝄆 L R R L L R R 𝄇 becomes: 𝄆                𝄇 and the presentation of the material, in Drumming Patterns.
𝄆 R L R R L R L L 𝄇 becomes: 𝄆                  𝄇 The advantage of thinking in terms of fundamental patterns—as opposed to endless,
𝄆 R L R L R R L L 𝄇 becomes: 𝄆                  𝄇 arbitrary, unrelated and unconceptualized concrete individual stickings and rhythms—is
𝄆 L R L R L L R R 𝄇 becomes: 𝄆                  𝄇 that all our information becomes interrelated, reduced and simplified. We no longer need
𝄆 R L R L L R L L 𝄇 becomes: 𝄆                  𝄇 to separately compartmentalize playing snare drum versus playing rock versus playing jazz
𝄆 L R L R R L R R 𝄇 becomes: 𝄆                  𝄇 versus playing solo versus playing accompaniment etc. We learn that all of these areas use
𝄆 R L R L R L R L L 𝄇 becomes: 𝄆                    𝄇 the same underlying patterns and thus are fundamentally related. As a result, they become
𝄆 L R L R L R L R R 𝄇 becomes: 𝄆                    𝄇 easier to learn and easier to comprehend. 1
𝄆 R L R L L R R L L 𝄇 becomes: 𝄆                    𝄇 The first section of Part I of Drumming Patterns, “Sticking Patterns,” presents these
𝄆 L R L R R  L L R R  𝄇 becomes: 𝄆                    𝄇 patterns as stickings. After the sticking pattern section are several sections consisting of
𝄆 R L R R L L R L L 𝄇 becomes: 𝄆                    𝄇 the same sticking patterns systematically embellished by flams, accents, etc. The whole of
𝄆 L R L L R R L R R  𝄇 becomes: 𝄆                    𝄇 Part I presents the progressive arrangement of all the primary components of stick technique.
𝄆 R L R R  L R R L L 𝄇 becomes: 𝄆                    𝄇 Part II of Drumming Patterns converts the underlying patterns into rhythms and shows
𝄆 L R L L R L L R R 𝄇 becomes: 𝄆                    𝄇 how these rhythmic patterns may be applied to every musical style that can be performed on
𝄆 R L L R R  L R R  L L 𝄇 becomes: 𝄆                      𝄇 the drumset, in both solo and accompaniment.
𝄆 R L R L R R L R L R L L 𝄇 becomes: 𝄆                          𝄇 For an animated tour that walks you through through the concepts above, I recommend
𝄆 R L R L R L L R L R L L 𝄇 becomes: 𝄆                          𝄇 watching “An Introduction To Drumming Patterns” at DrummingPatterns.com/book.
𝄆 L R L R L R R  L R L R R  𝄇 becomes: 𝄆                          𝄇

1. This is analogous to the advantages of understanding language in terms of grasping a finite number of principles
of grammar as opposed to memorizing an infinity of concrete instances of usage, or of learning to spell by means
of understanding the principles of phonics as opposed to memorizing an infinity of concrete instances of word
spellings.
12 13

PART I:
SNARE DRUM PATTERNS
14 15

Part I: Organization Of Part I

Part I is divided into nine sections of four types:

Snare Drum Patterns • The Sticking Patterns section presents various unembellished combinations of the four
fundamental units of snare drum technique: R, L, RR, LL.
• The Embellishment Patterns section superimposes accent, flam, single, double, and
Note: Throughout this text, “R” is a symbol for a right-handed stroke, “L” is a symbol for a buzz stroke embellishments over single stroke (RL, RLRL, etc.) sticking patterns.
left-handed stroke. All quarter notes are equal to one beat. • The Accent Patterns, Flam Patterns, Single Stroke Patterns, and Double/Buzz
Stroke Patterns sections superimpose these same embellishments over more complex
Practice Method (RLL, RRLL, etc.) sticking patterns.
• The Roll Patterns and Alternating Roll Patterns sections present roll pattern nota-
• Each pattern should be practiced by repeating it continuously, proceeding to the fastest
tions to which the above patterns may be applied.
tempo at which it can be executed precisely and in a relaxed manner.
• At a given tempo, each pattern should be practiced at soft, medium, and loud dynamic
levels. 1 The use of a metronome is recommended. Sticking Patterns Section Vs. Subsequent Sections
• Each pattern should first be practiced in the Sticking Pattern section before attempting In the Sticking Patterns section, each sticking pattern is presented phrased in four different
the embellished versions of those patterns introduced in subsequent sections. ways: as eighth notes, sixteenth notes, eighth note triplets, and sixteenth note triplets. As a
guide to clarify the beginning and end of each sticking pattern, the first digit of each sticking
Budgeting Practice Time pattern is underlined.
Upon learning the pattern in the Sticking Patterns section, you will have acquired the
Drumming Patterns is an encyclopedia of technique and rhythm, rather than a method
ability to phrase each pattern in these four ways. Therefore, in subsequent sections, each
book to be practiced strictly from beginning to end. Therefore, depending on the amount of
pattern is presented only once, without any musical notations. However, each pattern should
practice time available, the reader may want to select only some of the patterns for practice,
still be practiced as eighth notes, sixteenth notes, eighth note triplets, and sixteenth note
rather than attempting to practice them all. The shorter, simpler, and more symmetrical
triplets. In contrast to the sticking patterns section, in subsequent sections underlined digits
patterns are more useful than some of the more elaborate patterns. 2 Therefore, you should
indicate embellishments, such as accents, flams, etc.
concentrate on learning these patterns before considering the more elaborate ones. In Part I,
the most important patterns to practice are:

I. Sticking Patterns (pages 16-39)

• All two, three, four, six, and twelve digit patterns
• Eight digit patterns phrased in double subdivisions (eighth notes and sixteenth notes)
• Nine digit patterns phrased as eighth note triplets

II. Embellishment, Accent, Flam, Single, and Double/Buzz Patterns (pages 40-85)
All two, three, and four digit patterns.

1. In addition to developing dynamic (volume level) control, at a given tempo when the patterns are practiced from
soft to loud each increase in dynamic level will increase the height that the stick will rise. Correspondingly, the
speed at which the stick will travel will also increase, thereby easing the transition to the next faster tempo.
2. For a more detailed discussion of this subject, see “Appendix II: Determining A Pattern's Utility,” page 164.
16 17

Sticking Patterns THREE DIGIT PATTERNS

Sticking 3A: RLL
Sticking patterns are the basic patterns of drum technique upon which other patterns are
built, and are the basis for all the material in this book. Of the sticking patterns themselves,
those two to four digits in length are the most basic and are the basis for all subsequent
sticking patterns. 1) RLL 1) RLLRLL 1) RL LR LL 1) RLLR LLRL LRLL
Each pattern is presented in four different ways: eighth notes, eighth note triplets, six- 2) LRL 2) LRLLRL 2) LR LL RL 2) LRLL RLLR LLRL
teenth notes, and sixteenth note triplets. The inversions of each sticking pattern are shown
in vertical columns (a definition of this term is found on page 162). To clarify the beginning 3) LLR 3) LLRLLR 3) LL RL LR 3) LLRL LRLL RLLR
of each pattern, its first digit is underlined. (In this section the underlining of digits does not
signify embellishments.) Sticking 3B: LRR
Each exercise should be practiced by repeating continuously. “R” is a symbol for the right
stick; “L” is a symbol for the left stick. In this and all subsequent sections, each quarter note
is equal to one beat. For detailed practicing guidelines, see “Part I: Snare Drum Patterns” on
page 14. 1) LRR 1) LRRLRR 1) LR RL RR 1) LRRL RRLR RLRR
2) RLR 2) RLRRLR 2) RL RR LR 2) RLRR LRRL RRLR
The most important patterns to practice in this section are:
3) RRL 3) RRLRRL 3) RR LR RL 3) RRLR RLRR LRRL
• All two, three, four, six, and twelve digit patterns
• Eight digit patterns phrased in double subdivisions (eighth notes and sixteenth notes)
• Nine digit patterns phrased as eighth note triplets
FOUR DIGIT PATTERNS
Sticking 4A: RRLL
TWO DIGIT PATTERNS
Sticking 2A: RL
1) RR LL 1) RRLL 1) RRL LRR LLR RLL 1) RRLLRR LLRRLL
2) LR RL 2) LRRL 2) LRR LLR RLL RRL 2) LRRLLR RLLRRL
1) RL 1) RLRL 1) RLR LRL 1) RLRLRL 3) LL RR 3) LLRR 3) LLR RLL RRL LRR 3) LLRRLL RRLLRR
2) LR 2) LRLR 2) LRL RLR 2) LRLRLR 4) RL LR 4) RLLR 4) RLL RRL LRR LLR 4) RLLRRL LRRLLR
18 DRUMMING PATTERNS Sticking Patterns 19

FIVE DIGIT PATTERNS

Sticking 5A: RLRLL
1) LRL RRL RLR RLR LRR 1) LRLRRL RLRRLR LRRLRL RRLRLR RLRLRR
2) RLR LRR LRL RRL RLR 2) RLRLRR LRLRRL RLRRLR LRRLRL RRLRLR
3) RRL RLR RLR LRR LRL 3) RRLRLR RLRLRR LRLRRL RLRRLR LRRLRL
1) RL RL LR LR LL 1) RLRL LRLR LLRL RLLR LRLL
4) LRR LRL RRL RLR RLR 4) LRRLRL RRLRLR RLRLRR LRLRRL RLRRLR
2) LR LR LL RL RL 2) LRLR LLRL RLLR LRLL RLRL
5) RLR RLR LRR LRL RRL 5) RLRRLR LRRLRL RRLRLR RLRLRR LRLRRL
3) LL RL RL LR LR 3) LLRL RLLR LRLL RLRL LRLR
4) RL LR LR LL RL 4) RLLR LRLL RLRL LRLR LLRL
5) LR LL RL RL LR 5) LRLL RLRL LRLR LLRL RLLR SIX DIGIT PATTERNS
Sticking 6A: RLRRLL

1) RLR LLR LRL LRL RLL 1) RLRLLR LRLLRL RLLRLR LLRLRL LRLRLL
1) RLR RLL 1) RLRRLL 1) RL RR LL 1) RLRR LLRL RRLL
2) LRL RLL RLR LLR LRL 2) LRLRLL RLRLLR LRLLRL RLLRLR LLRLRL
2) LRL RRL 2) LRLRRL 2) LR LR RL 2) LRLR RLLR LRRL
3) LLR LRL LRL RLL RLR 3) LLRLRL LRLRLL RLRLLR LRLLRL RLLRLR
3) LLR LRR 3) LLRLRR 3) LL RL RR 3) LLRL RRLL RLRR
4) RLL RLR LLR LRL LRL 4) RLLRLR LLRLRL LRLRLL RLRLLR LRLLRL
4) RLL RLR 4) RLLRLR 4) RL LR LR 4) RLLR LRRL LRLR
5) LRL LRL RLL RLR LLR 5) LRLLRL RLLRLR LLRLRL LRLRLL RLRLLR
5) RRL LRL 5) RRLLRL 5) RR LL RL 5) RRLL RLRR LLRL
6) LRR LLR 6) LRRLLR 6) LR RL LR 6) LRRL LRLR RLLR
Sticking 5B: LRLRR
Sticking 6B: LRLLRR

1) LR LR RL RL RR 1) LRLR RLRL RRLR LRRL RLRR

2) RL RL RR LR LR 2) RLRL RRLR LRRL RLRR LRLR 1) LRL LRR 1) LRLLRR 1) LR LL RR 1) LRLL RRLR LLRR

3) RR LR LR RL RL 3) RRLR LRRL RLRR LRLR RLRL 2) RLR LLR 2) RLRLLR 2) RL RL LR 2) RLRL LRRL RLLR

4) LR RL RL RR LR 4) LRRL RLRR LRLR RLRL RRLR 3) RRL RLL 3) RRLRLL 3) RR LR LL 3) RRLR LLRR LRLL

5) RL RR LR LR RL 5) RLRR LRLR RLRL RRLR LRRL 4) LRR LRL 4) LRRLRL 4) LR RL RL 4) LRRL RLLR RLRL
5) LLR RLR 5) LLRRLR 5) LL RR LR 5) LLRR LRLL RRLR
6) RLL RRL 6) RLLRRL 6) RL LR RL 6) RLLR RLRL LRRL
20 DRUMMING PATTERNS Sticking Patterns 21

SEVEN DIGIT PATTERNS

Note: Because seven does not divide easily into eighth note, sixteenth note, eighth note
triplet, and sixteenth note triplet groupings, all but the first inversions of the seven
stroke patterns are omitted, as these patterns have relatively limited utility. 1

Sticking 7A: RLRLRLL Sticking 7C: RLLRRLL

1) RL RL RL LR LR LR LL 1) RLRL RLLR LRLR LLRL RLRL LRLR LRLL 1) RL LR RL LR LL RR LL 1) RLLR RLLR LLRR LLRL LRRL LRLL RRLL

1) RLR LRL LRL RLR LLR LRL RLL 1) RLL RRL LRL LRR LLR LLR RLL

1) RLRLRL LRLRLR LLRLRL RLLRLR LRLLRL RLRLLR LRLRLL 1) RLLRRL LRLLRR LLRLLR RLLRLL RRLLRL LRRLLR LLRRLL

Sticking 7B: LRLRLRR Sticking 7D: LRRLLRR

1) LR LR LR RL RL RL RR 1) LRLR LRRL RLRL RRLR LRLR RLRL RLRR 1) LR RL LR RL RR LL RR 1) LRRL LRRL RRLL RRLR RLLR RLRR LLRR

1) LRL RLR RLR LRL RRL RLR LRR 1) LRR LLR RLR RLL RRL RRL LRR

1) LRLRLR RLRLRL RRLRLR LRRLRL RLRRLR LRLRRL RLRLRR 1) LRRLLR RLRRLL RRLRRL LRRLRR LLRRLR RLLRRL RRLLRR

1. For a definition of the term “inversion,” see Appendix I, Item 3 on page 167. For an explanation of the concept of
utility, see Appendix II on page 164.
22 DRUMMING PATTERNS Sticking Patterns 23

EIGHT DIGIT PATTERNS

Sticking 8A: RLRRLRLL

1) RL RR LR LL 1) RLRR LRLL 1) RLRRLR LLRLRR LRLLRL RRLRLL

2) LR RL RL LR 2) LRRL RLLR 2) LRRLRL LRLRRL RLLRLR RLRLLR
3) RR LR LL RL 3) RRLR LLRL 3) RRLRLL RLRRLR LLRLRR LRLLRL
4) RL RL LR LR 4) RLRL LRLR 4) RLRLLR LRRLRL LRLRRL RLLRLR
5) LR LL RL RR 5) LRLL RLRR 5) LRLLRL RRLRLL RLRRLR LLRLRR
6) RL LR LR RL 6) RLLR LRRL 6) RLLRLR RLRLLR LRRLRL LRLRRL
7) LL RL RR LR 7) LLRL RRLR 7) LLRLRR LRLLRL RRLRLL RLRRLR
8) LR LR RL RL 8) LRLR RLRL 8) LRLRRL RLLRLR RLRLLR LRRLRL

Sticking 8B: RLRLRRLL

1) RLR RLR LLR LRR LRL LRL RRL RLL

2) LRR LRL LRL RRL RLL RLR RLR LLR
1) RL RL RR LL 1) RLRL RRLL
3) RRL RLL RLR RLR LLR LRR LRL LRL
2) LR LR LR RL 2) LRLR LRRL
4) RLR LLR LRR LRL LRL RRL RLL RLR
3) LL RL RL RR 3) LLRL RLRR
5) LRL LRL RRL RLL RLR RLR LLR LRR
4) RL LR LR LR 4) RLLR LRLR
6) RLL RLR RLR LLR LRR LRL LRL RRL
5) RR LL RL RL 5) RRLL RLRL
7) LLR LRR LRL LRL RRL RLL RLR RLR
6) LR RL LR LR 6) LRRL LRLR
8) LRL RRL RLL RLR RLR LLR LRR LRL
7) RL RR LL RL 7) RLRR LLRL
8) LR LR RL LR 8) LRLR RLLR
Thank you very much for reading this far. I hope you have found value in this sample of
the book.
Please know that there are 16 more sticking patterns detailed in the remaining 16 pages of
this chapter (pp 24–39).
If you might like to continue, you can purchase individual chapters, as well as the entire
book, at https://www.drummingpatterns.com/book.