CIAO A TUTTI ECCO QUI 50 ESSENZIALI WARM-UPS PER IL VOSTRO RISCALDAMENTO PRIMA DI COMINCIARE GLI ALLENAMENTI, RICORDATEVI CHE QUESTO STRUMENTO METTE SOTTO STRES PARECCHI MUSCOLI DEL CORPO, IN EFFETTI IL BATTERISTA SI PUO' CONSIDERARE COME UN ATLETA PROPRIO PER IL DISPENDIOSO SFORZO MUSCOLARE CHE SI HA QUANDO SUONIAMO, PER CUI PRIMA DI INIZIARE, PER EVITARE DI NON STRAPPARE  LA MUSCOLATURA E' BENE RISCALDARCI E FARE ESERCIZI DI STRETCHING PER I MUSCOLI DELLE BRACCIA E DELLE GAMBE , RISCALDIAMOCI POI  ANCHE CON QUESTI ESERCIZI I "WARM-UPS" CHE HO MESSO A DISPOSIZIONE, SONO MOLTO IMPORTANTI PERCHE COMBINANO DUE COSE NELLO STUDIO, IL RISCALDAMENTO E LA TECNICA, BUON LAVORO.

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WARM-UP   1

"A fundamental exercise that will form the basis of many warm-ups. I call this 'The Snap' and it is treated like a double stroke with an extra note in between. At lower speeds you can play this with full down strokes. At higher tempos it can be more beneficial to use Wrist followed by fingers for each double stroke"  

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WARM-UP   2

"A symmetrical exercise that focuses on groups of dotted 8th note triplets. You can play this with or without accents. On the kit you can move the accented hand around to create interesting patterns. There is potential for some tricky cross sticking as you move the left hand accent around the drums. Try substituting the accent for bass drum and crash cymbal together:' 

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WARM-UP   3

"The '4 stroke ruff' or 'single stroke four'. Another fundamental bit-part of future exercises. The ruff can be played with increasing tempo from first stroke to the last. In the audio example we will treat the ruff as four even strokes. At slow tempos be clear and precise. At faster tempos you can treat the exercise as a double stroke in both hands. These double strokes are staggered to create four seperate notes." 

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WARM-UP   4

"Introducing inverted double strokes. Th _e .. k .ey _ere is to try to make the inverted doubles as even as possible. Play this exercise with and without accents. Doubles can be also played with a wrist/finger combination. This technique can be more effective on different surfaces like toms and cymbals." 

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WARM-UP   5

"Triple strokes. Three even strokes on each hand. It's important to practise starting on both hands here as it requires a mental shift in emphasis. The triple stroke will be applied to future exercises such as singles and flams."

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WARM-UP   6

"A variation on the flam accent that turns the phrase into a symmetrical exercise. The last three notes of the bar are worth paying attention to. It is these three notes that allow the sticking to easily switch hands into the next bar." 

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WARM-UP   7

"The Snapadiddley. If you are already familiar with the paradiddle then the concept should come easily. An extra note is to be played between the double stroke of a regular paradiddle."

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WARM-UP   8

"This warm-up is in 5/8. You don't necessarily need to count this exercise but it is easier to notate it this way. A 6 stroke roll followed by a paradiddle which reverses the exercise to the other hand. avere you to count this exercise in 8th notes you would find the accents land on '1' and '4'." 

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WARM-UP   9

"Triple strokes and doubles combined over a 2 bar phrase. Sticidng is reversed in the second bar. Play at low tempos with an emphasis on even sounding notes before you increase speed."