These books were constructed as more of a field than a path.
Both books have exercises in various categories and styles. They are all organized so that you can choose the most suitable material for your practicing at any given point.
If you have the Infinite Coordination books and are wondering how you’ll ever get through all the material, or are wondering what order to go in besides first page to last page, the following explanations will help. Make sure to check out the practice tips!!
Contents of this post:
-Volume 1: ‘Quick Start Instructions’
-Volume 1: ‘Complete Training Tips’
-Volume 2: ‘Quick Start Instructions’
-Volume 2: ‘Complete Training Tips’
-Volumes 1 & 2: Skill Development Strategies
VOLUME 1 QUICK START INSTRUCTIONS
1 To get started quickly, just try a bit of each of the 9 sections of the book. Read the instructions carefully for each section, then try a couple exercises. The goal here is just to familiarize yourself with what the exercises are like. (Make sure to try a few different limb-configurations for the exercises in chapters 1 & 2, and also try using the ‘permutation window’.)
2 Then, just work on exercises in any section you like. They will all help you no matter where your skill level is- just set the tempo accordingly.
3 Don’t be afraid to skip around when using this book, because all of the sections are useful at any skill level. However, the order within the books IS logical, so when you’re serious about using this book to build your coordination skills, make sure to accomplish a solid foundation in the early chapters to get the most out of the later chapters.
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VOLUME 1 COMPLETE TRAINING TIPS
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1 -If you are looking to get the most out of this book, then make sure to spend plenty of time in whatever section you are working on, practicing carefully to gain new abilities as you go.
2 -Make sure to use the ‘permutation window’ with every exercise that is compatible with it, to access all the available patterns in the book. By permutating an exercise you not only gain access to new patterns, you are teaching your mind how to redefine a pattern in many ways without changing the sequence of physical movements- this is a valuable skill. (Read more about the permutation window)
3 -Make sure to use each of your four limbs for the exercises in chapter 1, each of the six possible pairs of limbs for the exercises in chapter 2, and each of the four groups of limbs for the exercises in chapter 3.
4 To organize your attack of the exercises in this book, I would reccommend using one limb-configuration at a time, for each section of the book you are using. Stay with that configuration and do as many exercises as you wish, and include all permutations where applicable. When you are finished, do the same exercises with another limb configuration, and make sure to eventually use all the different configurations.
5 -Pay attention to the letters in each section as well, because they tell you the ‘saturation’ of the patterns- how sparse or busy they are, based on many notes they contain. This will give you a rough determination of the pattern’s difficulty level.
6 -In the ‘4 Limb Linear Exercises’, follow those instructions carefully to use 1 box at a time, pairs of boxes at a time, etc.
7 -In the ‘4 Limb Layered Rhythms’ section, there is a further breakdown of the exercises beyond the letters A thru E, based on their construction method…
A has all the same type of rhythm.
B has three sections: 7-18, 19-30, and 31-42.
C has seven sections: 43-48, 49-60, 61-69, 70-78, 79-87, 88-96, and 97-108.
D has four sections: 109-120, 121-132, 133-144, and 145-156.
E has two sections: 157-160, and 161-163.
These sub-sections will help you identify and play the most similar exercises, and is also useful in splitting up your practice of this section to different occasions.
8 -In the 3 Limb and 4 Limb layered sections, another whole set of patterns can be accessed by playing the measures backwards and using all the permutations..!
9 -Another way to play the 3 Limb and 4 Limb linear triplets is to include a space after each box, so that the rhythm feels like 16th notes rather than triplets.
VOLUME 2 QUICK START INSTRUCTIONS
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1 At first, try using the layering system to combine grooves and rhythms together, and make sure you can accurately read the result in both notation styles. Learn a few combinations, to get practice moving the ‘layering window’ around on the pages and changing out the cards. Make sure to do patterns in both 12/8 and 4/4 time, and use a rhythm card too if you want. (for more information on using these tools, see the post about the layering system)
2 Then try out the rhythms, by themselves and with the ‘auxiliary uses’ described in the book, to get a feel for what you can do with the ‘rhythms’ section.
3 Use this book for learning combinations of grooves and rhythms, developing ostinatoes and soloing, increasing your musical drumset vocabulary, or working on the auxiliary skills in the rhythms section.
VOLUME 2 COMPLETE TRAINING TIPS
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1 This book can really help you develop your vocabulary in certain styles, if you spend some time working with it. Use a groove in a style of your choice and experiment layering rhythms over it, to find which rhythms work well in the groove and also as fills.
Here is a description of each of the grooves:
12/8 time, 1-beat length:
1. Shuffle pattern, hands . . . 2a / 2b. Basic pulse, feet . . . 3. Linear groove, hand/foot . . . 4. Heavy shuffle, hand/feet . . . 5. Linear groove, hands/foot
12/8 time, 2-beat length:
6. Alternating triplets, hands . . . 7. ‘2 vs. 3’ polyrhythm, feet . . . 8. Basic pulse groove, hand/foot . . . 9. Half-time triplet groove, hand/feet . . . 10. Shuffle with backbeat, hands/foot
12/8 time, 4-beat length:
11. Half-time backbeat groove, hands . . . 12. ‘4/8’ linear rhythm, feet . . . 13. Afro-cuban clave vs. pulse, hand/foot . . . 14. Half-time shuffle with backbeat, hand/feet . . . 15. ‘4/8’ pulse groove, hands/foot
4/4 time, 1-beat length:
16. 16ths vs. quarter notes, hands . . . 17. Linear ‘heartbeat’, feet . . . 18. Disco rhythm, hand/foot . . . 19. Linear ‘1ea’ pattern, hands/foot . . . 20. Samba groove, hand/feet
4/4 time, 2-beat length:
21. Basic rock groove, hands . . . 22. ‘Second-line’ groove, feet . . . 23. funk groove, hand/foot . . . 24. Linear doubles, hands/foot . . . 25. Double-time feel, hand/feet
4/4 time, 4-beat length:
26. 3/16 based groove, hands . . . 27. 3/16 echo groove, feet . . . 28. Cascara with rumba clave, hand/foot . . . 29. Bolero-inspired groove, hands/foot . . . 30. Dance groove, hand/feet
2 To develop full coordination with a groove, the best thing you can do is to use one groove card with all the 1-beat and 2-beat rhythms in the same time signature as the card. This is the sure-fire way to build an ostinato/groove that you can play on auto-pilot, while you improvise with a free limb (or two). This is great not only for soloing but also for adding life to your grooves. For a demo, see part 2 of the layering system video
3 It is extremely valuable also to use many or all card-versions of a single groove, so that you take advantage of the opportunity to switch left and right limb roles, and use all available ‘free limbs’ to play the additional rhythms.
4 Pay attention to the pattern length and the number of layers in the groove, as these will determine the rough difficulty level. Experiment to find the challenge level you prefer.
5 When using rhythm-cards to compare with other rhythms, be sure to use all six configurations of two limbs at a time. This procedure is very helpful as a stepping stone to get your limbs used to working independently, before you combine more than two rhythms at once.
6 Try making some of your own groove cards and rhythm cards, using the blanks included in each of the card packs. (detailed instructions for this procedure are in the book). This is valuable to know how to do, because the layering system can be used with any groove or rhythm you come up with.
7 As far as the auxiliary uses for the rhythms, be sure to try them all, using every configuration of 2 limbs at a time where appropriate.
8 In the 2-beat rhythm sections of the book, there is a further breakdown of the rhythms beyond the letters, based on their construction method…
In the 4/4 time, 2-beat length section:
A has all the same type of construction, for rhythms 1-8.
B has two sections: 9-20, and 21-32.
C has two sections: 33-80, and 81-88.
D has three sections: 89-118, 119-120, and 121-152.
E has two sections: 153-200, and 201-208.
F has two sections: 209-220, and 221-232.
G has all the same type of construction, for rhythms 233-240.
The 12/8 time, 2-beat length section has a further breakdown as well, but it is not significant.
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VOLUMES 1 & 2: SKILL DEVELOPMENT STRATEGIES
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These books can help you achieve mastery over many important skills, when used together.
Approaching the Infinite Coordination books in this manner is very advantageous- it requires you to have some self-direction, but it gives you strategic methods for improving certain areas of your drumming, and takes full advantage of the books’ strengths.
Here are the topics, some of which I have sketched out curriculii for, and some of which are yet to be finished… there is a description of each plan below. Please see a professional drum instructor for more detailed guidance on developing these skills!
-Timing
-Volume Control
-Coordination (linear and layered)
-Corps / Rudiment Style Drumming
-Double Bass
-Ghost Notes
-CREATIVITY
-Timing
(note that this is comprised of both a physical execution skill and a mental perception skill)
1. Listen to a metronome at various tempos. (For a full spectrum, I would recommend: 80, 100, 120, and 140 bpm.) Study and memorize the sound and feel of each tempo. (It helps to alternate having the metronome on and off).
2. Use Volume 1: ‘1 Limb Strings’ exercises, with and without a metronome at various tempos. Be sure to use each of your four limbs, and maintain consistent volume throughout, especially on the first and last notes of the string. Use a variety of volumes for each exercise.
3. Use Volume 1: ‘2 Limb Alternating Strings’ exercises, with and without a metronome at various tempos. Be sure to use all six pairings of your limbs, and maintain consistent volume throughout, especially on the first and last notes of the string. Use a variety of volumes for each situation.
4. Use the ‘Rhythms’ sections in Volume 2, and practice playing the rhythms with and without a metronome at various tempos. Use each limb one at a time, then use each of your 6 pairs of limbs with alternating strokes (play with natural* and dominant* sticking, taking turns to lead with each limb). Use a variety of volumes for each situation, and maintain consistent volume throughout.
*natural sticking = limbs always alternate one note at a time, regardless of rhythm
*dominant sticking = one limb always plays ‘even’ counts of measure, other limb always plays ‘odd’ counts of measure.. the sticking of a rhythm depends on which counts the rhythm occupies.
5. Use any/all exercises in Volume 1 for focusing on the quality of your timing.
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-Volume Control
1. Use Volume 1, ‘1 Limb Accent Patterns’ exercises, with all four of your limbs. Start very slow, and strive for sharp military-quality accuracy with fast movements. Make sure the distances from your sticks and pedals to the playing surface is very consistent. Spend plenty of time in this section to develop all of your limbs thoroughly, so you can maintain accuracy at increased tempos.
2. Use Volume 2, ‘1 Beat Rhythms, 12/8 Time’. Using a pair of your limbs, play all counts in the measure (8th notes) using constant alternating strokes. For each exercise, treat the spaces as low volume notes, and the written notes as high volume (accented) notes. Make sure to use all six pairs of your limbs, and take turns leading with each limb. The pattern of ‘transition strokes’ you use when alternating limbs will be as follows:
(remember, A = accent, F = freeze, L = lift, T = tap)
Rhythm 1: (skip this one)
Rhythm 2: F, L, T, F, L, T
Rhythm 3: T, F, L, T, F, L
Rhythm 4: L, T, F, L, T, F
Rhythm 5: A, L, F, A, L, F
Rhythm 6: F, A, L, F, A, L
Rhythm 7: L, F, A, L, F, A
Rhythm 8: (skip this one too)
3. Use Volume 2, ‘1 Beat Rhythms, 4/4 Time’. Using a pair of your limbs, play all counts in the measure (16th notes) using constant alternating strokes. For each exercise, treat the spaces as low volume notes, and the written notes as high volume (accented) notes. Make sure to use all six pairs of your limbs, and take turns leading with each limb. Use the following patterns of ‘transition strokes’ for each rhythm:
(remember, A = accent, F = freeze, L = lift, T = tap)
Rhythm 1: (skip this one)
Rhythm 2: F, T, L, T
Rhythm 3: L, T, F, T
Rhythm 4: T, F, T, L
Rhythm 5: T, L, T, F
Rhythm 6: A, T, A, T
Rhythm 7: F, L, L, F
Rhythm 8: F, F, L, L
Rhythm 9: L, L, F, F
Rhythm 10: L, F, F, L
Rhythm 11: T, A, T, A
Rhythm 12: A, F, A, L
Rhythm 13: A, L, A, F
Rhythm 14: F, A, L, A
Rhythm 15: L, A, F, A
Rhythm 16: (skip this one)
4. In Volume 2, use the ‘2 Beat Rhythms’ in both 12/8 and 4/4 time. Using a pair of your limbs, play all counts in the measure using constant alternating strokes. For each exercise, treat the spaces as low volume notes, and the written notes as high volume (accented) notes. Make sure to use all six pairs of your limbs, and take turns leading with each limb. If necessary, write out the pattern of ‘transition strokes’ for each rhythm you play- simply consider what volume each limb’s next note will be (the next note is two notes away when alternating) and what volume its present note is, and use the appropriate transition stroke.
5. Use Volume 1, ‘2 Limb Accent Patterns’ exercises, with all six pairs of your limbs. Start very slow and maintain perfect accuracy, making sure both your limbs always impact at exactly the same time. Spend plenty of time in this section.
6. Use Volume 1, ‘1 Limb Strings’, with a metronome on and off at various tempos. Follow the instructions there for crecendoes and decrecendoes, and be sure to use each of your four limbs. Pay attention to the resulting sound, as well as your execution, to make sure your crecendoes and decrescendoes have a good ‘feel’ to them.
7. Use Volume 1, ‘2 Limb Alternating Strings’, with a metronome on and off at various tempos. Follow the instructions there for crecendoes and decrecendoes, and be sure to use each of your four limbs. Pay attention to the resulting sound, as well as your execution, to make sure your crecendoes and decrescendoes have a good ‘feel’ to them.
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-Coordination (linear and layered)
Building these skills only requires that you play all the sections in Volume 1, and use the layering system in Volume 2 to learn many combinations of rhythms and grooves. These books were mostly designed to build coordination skills, so by working with them you WILL gain more coordination.. you can’t work with them and NOT gain coordination!
Follow the instructions in each section, and be sure to maintain consistent volume (except during the ‘1 Limb Accent Patterns’ and ‘2 Limb Accent Patterns’).
There IS something more worth mentioning, however… if you want the BEST POSSIBLE approach, build up your linear and layered coordination starting with two limbs at a time, and really work all the limb combinations until you feel very comfortable playing patterns with all of them.
2-limb exercises include all those in “Complete Coordination Training” as well as combining rhythms with rhythms in “Layering Rhythms”.
(If you sense any of your limbs could use more control, do some 1-limb exercises with those limbs, and it will improve your performance quality on the 2-limb exercises.)
Then work with all the territory in the 3-limb exercises section, until you are very comfortable with all of it. Spend more time on challenging exercises than easy ones, for quickest improvement.
3-limb exercises include all those in “Complete Coordination Training” as well as combining rhythms with 2-layer grooves in “Layering Rhythms”.
When you get to the 4-limb territory, if you’ve prepared well, it shouldn’t be an impossible challenge to gain muscle memory with the exercises and build speed and control with them.
4-limb exercises include all those in “Complete Coordination Training” as well as combining rhythms with 3-layer grooves in “Layering Rhythms”.
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COMING SOON:
-Corps/Rudiment Style Drumming
-Double Bass
-Ghost Notes
-CREATIVITY
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