CREDITSABOUT THE DISC __________________________________________4BIOGRAPHY ______________________________________________5INTRODUCTION____________________________________________6DIFFERENT PRACTICE METHOD ________________________________7KEY ____________________________________________________7

SECTION 1: EIGHTH NOTESEighth-Note Combinations ......................................................................................................................................88-Bar Exercise..................................................................................................................................................................10Play on Drums ................................................................................................................................................................10

SECTION 2: TRIPLETSTriplets ..............................................................................................................................................................................11Triplet Exercises..............................................................................................................................................................116-Bar Exercise..................................................................................................................................................................1212-Bar Exercise ..............................................................................................................................................................14Replacements on Last Note ......................................................................................................................................14Replacements on Middle Note ................................................................................................................................15Mixed Hand and Foot Combinations with Accents ........................................................................................1816-Bar Exercise ..............................................................................................................................................................20More Hand and Foot Combinations ......................................................................................................................2116-Bar Exercise ..............................................................................................................................................................23Triplets with Accents Using Mixed Stickings ......................................................................................................2416-Bar Exercise ..............................................................................................................................................................27Review of Triplets ..........................................................................................................................................................28Play on Drums ................................................................................................................................................................32Eighth-Note and Triplet Combinations ................................................................................................................3312-Bar Exercise ..............................................................................................................................................................35Play on Drums ................................................................................................................................................................36

SECTION 3: SIXTEENTH NOTESSixteenth Notes ............................................................................................................................................................3712-Bar Exercise ..............................................................................................................................................................3912-Bar Exercise ..............................................................................................................................................................43More Sixteenth Notes..................................................................................................................................................4316-Bar Exercise ..............................................................................................................................................................47Mixed Combinations of Sixteenth Notes ............................................................................................................4816-Bar Exercise ..............................................................................................................................................................52Hand and Foot Accents: Sixteenth Notes ..........................................................................................................5316-Bar Exercise ..............................................................................................................................................................55Play on Drums ................................................................................................................................................................59

SECTION 4: PUTTING IT ALL TOGETHERReplacements with Eighth & Sixteenth Notes ..................................................................................................6012-Bar Exercise ..............................................................................................................................................................62Play on Drums ................................................................................................................................................................63Eighth-Note Triplet and Sixteenth Combinations ............................................................................................6412-Bar Exercise ..............................................................................................................................................................66Play on Drums ................................................................................................................................................................67Replacement Drum Fills ............................................................................................................................................68More Drum Fills..............................................................................................................................................................70Shuffle Patterns..............................................................................................................................................................71Conclusion ......................................................................................................................................................................72

All the examples in this book are in MP3 format and wererecorded live with no Pro Tools editing involved. What youhear is what was played—no moving notes around oradjusting tempos. I used my Roland TD-12 module withCakewalk Sonar software. For each of the chapters I used adifferent drum set setting from the TD-12.

All the tracks were recorded to a click at various temposwith a one-bar count off on the hi-hat. The track numberon the CD is written beside each example in the book.Some tracks contain multiple examples.

For the drum fills, I recorded one of the following arrange-ments:

1 One bar fill/one bar time2 Two bars fill/two bars time3 One bar fill/three bars time4 Four bars fill

I supported most of the fills with the various foot ostinatosshown on pages 27 and 60.

To support the fills, I used many grooves from the variousstyles I demonstrated in the Triplet-Based Grooves sectionas well as ideas from the Grooves and Applications chapter.

For all of the grooves I recorded four bars of each example.

PLAY-ALONG TRACKSThere are 13 play-along tracks based on the many differenttriplet grooves and styles that are introduced in the begin-ning of the book. They are all approximately 2 minuteslong. These are just exercises for you to try the many differ-ent ideas in the book to help develop your swing playing.Jam out and have fun!

Listed below are the play-along examples and track num-bers from the CD.

Track 165: Slow Blues 12/8 - 74 BPM. (Beats Per Minute) Track 166: Blues Shuffle - 100 BPM. Track 167: Beach Shuffle - 125 BPM.Track 168: Funk Shuffle - 140 BPM.Track 169: Medium Swing - 140 BPM.Track 170: Medium/Up Swing -160 BPM. Track 171: Jump Swing - 180 BPM.Track 172: Up Swing - 200 BPM.Track 173: Hip-Hop - 190 BPM.Track 174: Afro-Cuban - 110 BPM.Track 175: Afro-Cuban - 190 BPM. in 6/8 timeTrack 176: Reggae - 130 BPM.Track 177: Reggae - 160 BPM.

Tracks 165,166, 167,168,169,170,171,172,175,and177 written and performed by Richi Vetro

Tracks 173,174, and 176 written and performed byCasey Manierka-Quaile

CD

Realistic Drum Fills: ReplacementsBy Carmine Appice

Edited by Joe Bergamini

Book Design, Layout, and Music Engraving by Rick Gratton

Executive Producers: Rob Wallis and Paul Siegel

Audio tracks performed by Joe Bergamini

Recorded at Joe Bergamini Drum Studio, Whippany NJ

Engineered, Mixed, and Mastered by Zak Rizvi (info@zakrizvimusic.com)

Front Cover Design by Rick Gratton

Cover Spread Design by Mike Hoff

Cover Photo by Charles Stewart

Video clip included on the disc is taken from the Hudson Music DVD Classic Rock Drum Solos.Copyright ©2006 Hudson Music LLC

All Rights Reserved

Catalog HDBK29/HL321208ISBN# 1458400174

ACKNOWLEDGMENTS

Thanks to Rick Gratton, Rob Wallis and Paul Siegel and all at HudsonMusic and Hal Leonard Corp., Joe Bergamini, Zak Rizvi, Leslie, Nick,and Bianca.

Carmine uses ddrum drums, Sabian cymbals, Vic Firth sticks, Evansdrumheads, Shure micropohones, Roland products, Calzone cases,Korg Wavedrum, Zoom products, Protechtor cases, and DW pedals.

Please visit:www.carmineappice.comwww.slammusa.com

Dedicated to the memory of my parents, Mary and Charlie Appice.

This book is also dedicated to my good friend and fellow drummer JoeMorello, whose inspiration was so great to me growing up; then webecame friends. He was one of the best! RIP

INSIDE THIS BOOK

REPLACEMENTS 7

DIFFERENT PRACTICE METHODSYou can play all these patterns 3 different ways and then reverse the sticking.

1 - as written.

2 - alternate feet (for right-handed players, play bar 1 with right foot, then play bar 2 with left foot; left-handedplayers reverse this footing).

3 - Play with the left foot only (left-handed players play with right foot only).

Also play quarter notes on your ride cymbal (RC) while playing the patterns between your left hand and bassdrum foot. Then reverse it: quarters with left hand and pattens between right hand and bass drum.

The “alternating feet” method works especially well playing double bass drums because you will have differenttones on each drum. A double pedal also works well, but you will have the same tone. When you have two notesin a row (in some of the later replacement patterns), having double bass drums or a double pedal makes it soundreally cool—especially when the pattern gets fast.

So it looks like we are ready to go. Have fun. LET’S ROCK !!

KEY TO THE BOOKSigns in the book:

> = Accents: I like to use rim shots for accents on the drums and pad.

F = Bass Drum

R or L = the strokes being replaced.

HH = Hi-Hat

RC = Ride Cymbal

SD = Snare Drum

TT = Small Tom

FT = Floor Tom

Whenever you see an F in the sticking, this indicates that you should leave out the hand stroke and replace itwith a note on the bass drum. Play the note with the F under it on the bass drum while playing the originalsticking. The F replaces the right hand on beat 1.

So on beat 1, instead of playing the right hand, you will play the bass drum instead. Then the sticking continuesand plays the L R L on the counts of 2, 3, and 4. This repeats 3 times to make it a 4-bar phrase.

Many exercises have 2 or more stickings to practice. Be sure to practice all of them carefully.

EXAMPLE

oo

o

o oo

This book will develop your ability to play cool drum fills and solo ideas. I call this technique replacements. I’ve been usingthese concepts for many years and have seen many of my idols using them before me. Greats like Buddy Rich, Gene Krupa,Max Roach, Louis Bellson, and Billy Cobham (as well as many modern players) all use these kinds of replacements in their playing.

This book puts these concepts into a learning program that keeps progressing to the next (more difficult) level. We willmove from eighth notes to triplets and sixteenths, which gets you playing different pulsations of these concepts. Once youunderstand the idea of what is happening with these, then you’ll see that you can use them in any playing situation. (That’splaying in a band!)

As in my other books, I’ll always present 10-12 individual exercises, and then I will present a 6-, 8-, 12-, or 16-bar exerciseputting all the patterns together side by side. This demonstrates how these patterns work together to develop solo ideasand create melodic drum patterns. These replacements can be used in rock, jazz, Latin, or just about any other kind of music.

The beginning of the book starts with eighth notes to introduce you to the concept and give you exercises to get started.Once the triplet section starts, things get more detailed and fun. Triplets are always more fun! After the triplets, we’ll moveto sixteenth-note patterns. Some of these examples can be put to use immediately by picking out 2 or 4 bars of a patternand playing them with your band. At the end of each section, we move to a series of exercises called Play on Drums. Thisputs the different patterns on the full kit played between the snare, toms and bass drum. This stuff is really great for youto use in your playing.

Like all things in learning, practice is the key. The more you practice these, the better you will sound, and the more ableyou’ll be to use them in a musical setting. Always practice the exercises slowly at first, then build up speed in order to getthe patterns really solid.

At the end of the book there is a section called Replacement Drum Fills in which there are 2 or 3 bars of time followed by a1- or 2-bar replacement fill. In addition to straight-time grooves, I’ve also included shuffle grooves with shuffle replacementfills. This Replacement Drum Fills section is just to open up your mind into what can be done with these concepts andpatterns. Remember to change some of the sticking to your own sticking and see what happens.

Most of all HAVE FUN with this book! I love using these kind of patterns while playing at my concerts, sessions, and clinics.I hope you do too!

REALISTIC DRUM FILLS REPLACEMENTS PRACTICE METHODS/KEY TO BOOK

REPLACEMENTS6

1

REPLACEMENTS10

EIGHT-BAR EXERCISE

PLAY ON DRUMSThis section takes the exercise concepts from the previous pages and puts them together with differentcombinations on the drumset. Notice that the key has changed to TT=Tom, SD Snare Drum, FT=Floor Tom andBD=Bass Drum.

This section really gets you ready to play these in a performance situation.

Here is where you get to play some cool replacement patterns that can be used as drum fills.

11

12

Here we continue our studies with the replacement concept. On these exercises we are just using the F on thecount that is being replaced.

So, in a triplet pattern it looks like this:

Example:

The foot is on the count of “1” while the hands play the triplet with alternate sticking. These triplets sound great.Watch for the patterns with the accents ( ); they are really cool and very melodic.

Have fun. Play slow at first and build speed.

TRIPLET EXERCISES

o

>

1

2

3

4

5

1

2

SECTION 1

SDFT

BD

TT

SDFT

BD

TT

SECTION 2

REPLACEMENT TRIPLETS

REPLACEMENTS 11

6

7

8

9

1 0

1 1

REPLACEMENTS 33

PLAY ON DRUMSPlay these around the kit to have fun and start developing melodic ideas.

SDFT

BD

TT

SDFT

BD

TT

SDFT

BD

TT

1

2

3

EIGHTH NOTES AND TRIPLET COMBINATIONSHere we start mixing different pulsations with eighth notes and triplets. Be sure to practice both writtenstickings. Once you are comfortable, make up your own mixed replacement patterns. As always, start slow andgradually build up speed. Watch the triplets for changes in the replacement pattern. These combinations willgive you a taste of a different feel.

As mentioned in the key, the strokes shown in boxes are the ones being replaced. An alternative way to play thereplacements is to take the replaced R or L stroke (shown in the box) and play the stroke on the bass drum butwith the replaced hand stroke on a china or other short-sounding cymbal at the same time. This will give you areal workout moving your hands up to the china cymbals and creating some cool sounding (and looking) licksusing the china and bass drum sound together. You can try this technique throughout the book.

Note: Once comfortable, apply your own sticking combinations at various tempos.

1

2

3

4

5

PLAY ON DRUMS COMBINATIONS

REPLACEMENTS32

4 7

4 9

4 8

5 1

5 0

REPLACEMENTS 67

SIXTEENTH AND EIGHTH NOTE TRIPLETS - TWELVE-BAR EXERCISEHere we will put together a melodic twelve-bar exercise using replacement sixteenth notes and triplets.

Put these together and use as a solo. Play slowly and build up speed.

PLAY ON DRUMS .

SDFT

BD

TT

SDFT

BD

TT

SDFT

BD

TT

1

2

3

COMBINATIONS PLAY ON DRUMS

REPLACEMENTS66

SIXTEENTH AND EIGHTH NOTE TRIPLETS - TWELVE-BAR EXERCISE

8 6

8 8

8 7