Ostinato Threes – Complete: Parts 1-4

Book Pages

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  p.1 — Part 1: Ostinato A (Title Page)

  The journey begins with Ostinato A: two sixteenth notes followed by one eighth note—a rhythm that creates a rolling, propulsive feel on the hi-hat. Through hundreds of carefully crafted grooves, this section trains your hands and feet to work independently while locking into a steady three-note pulse. Perfect for developing timing, dynamic control, and the foundation for more advanced coordination. Tighten your phrasing, sharpen your focus, and build the kind of control that translates directly into musical power.

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  p.2 — Getting Started with Ostinato A

  In this section, you’ll work with a repeating three-note pattern on the hi-hat: two sixteenth notes followed by one eighth note (Ostinato A). This rhythm creates a natural forward momentum and challenges your ability to maintain a consistent ostinato while your bass and snare voices move freely beneath it.

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  p.3 — Adding Eighth Rests (1)

  This page introduces eighth-note rests in the bass drum voice, adding a new level of rhythmic tension and syncopation beneath Ostinato A. The space created by these rests forces greater precision and awareness, sharpening your internal pulse and timing. These grooves push you to feel the beat between the notes—where real musicality lives. Expect a looser, funkier feel and a deeper challenge to your coordination.

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  p.4 — Adding Eighth Rests (2)

  Building on the previous page, Page 4 dives deeper into bass drum phrasing with varied eighth-note rests, creating even more intricate and unpredictable grooves beneath Ostinato A. These patterns test your ability to maintain consistency on the hi-hat while navigating shifting rhythms below. You’ll develop sharper timing, better balance between limbs, and a more expressive, syncopated feel—essential skills for funk, fusion, and modern groove playing.

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  p.5 — Adding Eighth Rests (3)

  Page 5 pushes syncopation to the edge by introducing more frequent and unpredictable eighth-note rests in the bass drum voice. These grooves create off-balance rhythms that challenge your ability to lock in with Ostinato A while keeping your time solid. It’s a test of patience, precision, and muscle memory—and a powerful tool for developing phrasing that breathes with space and tension. These patterns will stretch your timing and deepen your groove vocabulary.

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  p.6 — Dotted Eighths on Bass (1)

  Page 6 introduces dotted eighth notes connected to a sixteenth in the bass drum, adding a powerful sense of forward motion and rhythmic tension beneath Ostinato A. These patterns create syncopated surges that shift the feel without disrupting the pulse, demanding precise placement and strong internal timing. As you work through these grooves, you’ll sharpen your ability to land late subdivisions with confidence—essential for mastering complex phrasing and dynamic, driving rhythms.

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  p.7 — Dotted Eighths on Bass (2)

  On Page 7, the challenge deepens as dotted eighth notes and eighth rests are combined in the bass drum voice beneath Ostinato A. The contrast between long, driving notes and sudden silences creates grooves that feel both spacious and rhythmically complex. These patterns demand heightened awareness, refined timing, and a strong internal pulse. As you navigate these shifting accents and open spaces, your coordination sharpens—and your playing gains a new level of depth and rhythmic sophistication.

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  p.8 — Dotted Eighths on Bass (3)

  Page 8 weaves together even more eighth rests and dotted eighth figures in the bass drum, creating grooves that are rhythmically dense, unpredictable, and full of subtle tension. These exercises challenge your ability to maintain Ostinato A while navigating broken rhythms, delayed attacks, and shifting weight across the bar. This is where timing, focus, and limb independence are truly put to the test. Nail these patterns, and you’ll gain not just technical control—but the ability to play with space and syncopation at a deep, musical level.

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  p.9 — Two Sixteenths on Bass (1)

  Page 9 introduces two consecutive sixteenth notes on the bass drum beneath Ostinato A—a coordination challenge that adds speed, density, and forward momentum to your grooves. These figures require precise foot control and even subdivision, pushing your ability to maintain a steady hi-hat ostinato while executing fast, locked-in bass rhythms. This page bridges technique and groove, laying the groundwork for more intricate footwork and tighter musical phrasing.

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  p.10 — Two Sixteenths on Bass (2)

  Page 10 combines two sixteenth-note bass drum figures with eighth-note rests, creating grooves that are both rhythmically active and intentionally broken. The push–pull between rapid bass motion and sudden silence forces you to dial in your timing and balance every note against the steady flow of Ostinato A. These patterns demand control, subtle dynamics, and mental focus—ideal for drummers looking to sharpen their footwork while keeping the groove alive.

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  p.11 — Two Sixteenths on Bass (3)

  Page 11 pushes coordination further with more two sixteenth-note bass patterns, combined with a wider use of eighth and quarter rests. The result is a dynamic interplay between bursts of rhythmic density and extended silences—all under the steady drive of Ostinato A. These grooves challenge your ability to stay relaxed and in time through shifting textures and open space. It’s a test of control, patience, and musical awareness—and a key step toward mastering phrasing that breathes with intention.

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  p.12 — Syncopated Sixteenth Bass Phrasing (1)

  On Page 12, the bass drum steps deeper into syncopation with a new figure: a sixteenth rest on the downbeat, followed by a sixteenth note on the “e.” This subtle displacement creates tension right at the start of the beat, requiring laser-sharp timing and a strong internal pulse to keep Ostinato A steady overhead. These grooves train you to feel behind the beat without losing momentum—perfect for developing finesse, touch, and groove sensitivity in more advanced phrasing.

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  p.13 — Syncopated Sixteenth Bass Phrasing (2)

  Page 13 blends multiple rhythmic challenges in the bass drum voice: sixteenth rests on the downbeat followed by sixteenth note entries, eighth-note rests, and dotted eighth notes followed by sixteenth notes. These combinations introduce layered syncopation beneath Ostinato A, pushing your timing, focus, and phrasing to a new level. Every groove demands full-body coordination and mental clarity—training you to stay locked in while navigating offbeat attacks, rhythmic tension, and unpredictable space.

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  p.14 — Moving the Snare (1)

  On Page 14, the snare drum steps out of its traditional role. Instead of anchoring beats 2 and 4, you’ll now be playing snare accents on offbeats—like the “&” and “ah”—while maintaining Ostinato A on the hi-hat and a solid quarter-note pulse on the bass drum. This new phrasing challenges your ear and muscle memory, opening up a world of syncopation, displacement, and creative groove shaping. It’s a powerful next step in developing phrasing flexibility and true coordination independence.

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  p.15 — Moving the Snare (2)

  Page 15 takes the concept further with a wider variety of snare placements outside the traditional backbeat—appearing on “e,” “&,” and “ah” across the measure. With the bass drum holding steady on all four beats and Ostinato A flowing on the hi-hat, these grooves demand refined timing, dynamic control, and heightened limb independence. This page trains you to think melodically with your snare, adding texture, syncopation, and phrasing depth to your playing.

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  p.16 — Moving the Snare (3)

  Page 16 brings it all together with an expanded range of snare drum placements—appearing on nearly every subdivision across the bar. With Ostinato A holding steady and the bass drum grounding the groove on all four beats, these patterns push your coordination, timing, and dynamic control to their limits. This is where your snare voice becomes fully integrated into the groove—not just keeping time, but shaping it. Expect challenge, but also creativity: these are the kinds of patterns that turn solid players into expressive, versatile drummers.

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  p.17 — Two Sixteenths on Snare (1)

  Page 17 introduces a new layer of snare phrasing: two sixteenth notes followed by an eighth rest—played against the steady foundation of Ostinato A and a consistent quarter-note bass drum pulse. These short snare bursts, followed by intentional silence, create a sharp, syncopated feel that requires precise timing and control. The contrast between motion and rest trains you to think in phrases, not just patterns—laying the groundwork for more expressive and dynamic groove playing.

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  p.18 — Two Sixteenths on Snare (2)

  Page 18 blends two contrasting snare figures: two sixteenth notes and dotted eighth notes followed by a sixteenth—all played against the steady pulse of Ostinato A and a consistent quarter-note bass drum. These grooves challenge you to shift between tight, quick motions and stretched, syncopated phrases without losing the flow. It’s a test of precision, feel, and patience—perfect for developing phrasing that breathes, bounces, and cuts through with intention.

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  p.19 — Snare on the “ah”

  Page 19 explores snare phrasing with the “ah” of the beat leading directly into a downbeat snare stroke—a subtle but challenging placement that creates forward momentum and rhythmic tension. With the hi-hat locked into Ostinato A and the bass drum anchoring the quarter-note pulse, this figure trains you to feel subdivisions deeply and land with accuracy. These grooves sharpen your anticipation, reinforce your internal clock, and help you play with a sense of pull and resolution.

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  p.20 — Snare on the “e”

  Page 20 introduces snare patterns that fall on the downbeat and the “e” of the beat—creating compact, forward-pushing rhythms against the steady flow of Ostinato A and quarter-note bass drum. This combination sharpens your ability to place quick, back-to-back strokes with precision while maintaining a relaxed feel. These grooves develop timing control, wrist efficiency, and the ability to inject energy into a phrase without overpowering the groove.

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  p.21 — Snare Phrasing Complete

  Page 21 pulls together all the sixteenth-note snare phrasing introduced so far—“e,” “&,” “ah,” doubles, rests, and syncopated entries—and increases the snare activity for a fuller, more dynamic feel. With Ostinato A holding steady on the hi-hat and the bass drum anchoring every beat, this page pushes your coordination, endurance, and rhythmic fluency. It’s not just about playing the notes—it’s about flowing through them with confidence and control. This is where your groove becomes fully realized, responsive, and musical.

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  p.22 — Part 2: Ostinato B (Title Page)

  Part 2 introduces Ostinato B: an eighth note on the downbeat followed by two sixteenth notes (counted: 1 & ah, 2 & ah…). This rhythm shifts the weight of the groove, creating a forward-leaning, slightly syncopated feel that demands new timing awareness and coordination. As you work through the exercises, you’ll retrain your internal pulse, develop smoother transitions between subdivisions, and learn to maintain rhythmic clarity even as the bass and snare voices become more complex. Ostinato B opens the door to funkier, more elastic grooves—and trains your hands and feet to respond with precision and flow.

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  p.23 — Getting Started with Ostinato B

  This page mirrors the coordination patterns introduced early in Part 1, but with a new feel in the hi-hat voice. The eighth note followed by two sixteenth notes changes the rhythmic phrasing and requires you to reorient your internal pulse. Even though the bass and snare patterns are the same, you’ll notice how differently they sit in the groove—this page lays the foundation for adapting old ideas to new phrasing environments.

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  p.24 — Adding Eighth Rests (1)

  With the addition of eighth rests in the bass drum, these patterns create a more syncopated and spacious feel beneath the moving hi-hat pattern. The challenge is maintaining subdivision awareness and limb independence while keeping your time feel clear and grounded. Each rest becomes a musical statement, and each note must land with confidence.

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  p.25 — Adding Eighth Rests (2)

  More frequent eighth rests in the bass drum open up the groove even further. Against the active three-note hi-hat figure, these gaps create syncopated tension and a feeling of rhythmic unpredictability. You’ll need strong internal time and clear articulation to keep these patterns locked in.

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  p.26 — Adding Eighth Rests (3)

  This page pushes the idea of space even further. With more varied eighth rests in the bass drum part, you’ll find yourself navigating longer silences while maintaining the pulse. These grooves challenge your ability to balance rhythmic restraint with motion—teaching you how to phrase with intention through subtraction.

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  p.27 — Dotted Eighths on Bass (1)

  Now the bass drum introduces a new rhythmic figure: a dotted eighth note connected to a sixteenth. This stretched rhythm adds weight and delay to the lower voice, contrasting sharply with the faster-moving hi-hat line. Precision is critical here—you’re developing the skill to feel across longer rhythmic spans while keeping the groove anchored.

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  p.28 — Dotted Eighths on Bass (2)

  This page combines dotted eighth figures with rests, creating grooves that are rhythmically stretched, then snapped back into time. The interplay of silence and delay builds deeper control and independence between your limbs. You’ll need strong concentration and a sharpened sense of beat placement to make these feel musical and intentional.

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  p.29 — Dotted Eighths on Bass (3)

  More combinations of eighth rests, dotted figures, and sixteenth note motion on the bass drum create greater phrasing variety. These patterns develop your ability to play both in and around the beat, while the hi-hat ostinato keeps your upper voice grounded and consistent.

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  p.30 — Two Sixteenths on Bass (1)

  This page introduces two sixteenth notes in a row on the bass drum, requiring a new level of foot control and rhythmic precision. The hi-hat rhythm continues to move steadily above, so your coordination must adapt to faster bursts in the lower voice while keeping the feel smooth and even.

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  p.31 — Two Sixteenths on Bass (2)

  Bass drum doubles now appear in combination with eighth rests, creating sharp contrasts between dense motion and silence. These grooves challenge your ability to switch quickly between active and passive rhythmic roles, while maintaining balance and forward motion across all limbs.

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  p.32 — Two Sixteenths on Bass (3)

  The bass drum patterns on this page incorporate doubles, eighth rests, and now quarter rests, demanding that you hold rhythmic shape through extended silence. With your foot playing so little but at crucial moments, this page builds subtlety, phrasing, and deep internal timing.

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  p.33 — Syncopated Sixteenth Bass Phrasing (1)

  This page introduces bass drum figures that begin with a sixteenth rest followed by a sixteenth on the “e”, placing the low voice slightly behind the beat. Against the steady hi-hat and backbeat snare, these grooves feel subtly off-center, training you to lock into subdivisions that don’t start on the downbeat. Precision and patience are key—these patterns demand close listening and deep internal time.

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  p.34 — Syncopated Sixteenth Bass Phrasing (2)

  Building on the syncopated bass phrasing from the previous page, this section adds more sixteenth rest entries, eighth rests, and dotted eighth + sixteenth figures in the bass drum. The coordination becomes more layered and unpredictable, requiring you to stay grounded while the low end shifts and dances beneath the ostinato. This is a powerful page for developing bass drum phrasing fluency and touch.

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  p.35 — Moving the Snare (1)

  For the first time in Part 2, the snare drum breaks away from beats 2 and 4, landing instead on “&” and “ah.” These grooves feel less symmetrical and more syncopated, forcing your left hand to find new placements within the bar. The challenge here is keeping your hi-hat and bass consistent while letting the snare create its own rhythmic conversation above.

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  p.36 — Moving the Snare (2)

  Snare strokes now land on a wider range of sixteenth subdivisions—“e,” “&,” “ah”—and start to move in and out of the barline with more fluidity. These patterns ask you to balance freedom with control. You’re learning to phrase with your snare in a way that shapes the groove musically, not just keeps time.

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  p.37 — Moving the Snare (3)

  This page increases the density and variety of snare placements throughout the sixteenth-note grid. Your left hand becomes a melodic voice, playing in response to the feel set by the hi-hat ostinato. Maintaining accuracy, dynamic balance, and consistency in feel is essential—this is a true coordination test.

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  p.38 — Two Sixteenths on Snare (1)

  Introducing two sixteenth notes on the snare followed by an eighth rest, these grooves are built around short bursts of sound followed by deliberate silence. The coordination challenge is in staying loose and controlled while jumping between motion and space. The ostinato keeps the groove anchored, so the snare can play with dynamic contrast.

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  p.39 — Two Sixteenths on Snare (2)

  Building on the snare doubles introduced on the previous page, Page 39 adds more snare activity—including sixteenth note motion, dotted figures, and syncopated combinations. These grooves challenge your ability to phrase with control, keeping everything clear and in time while balancing density and space. The goal is a snare voice that feels both intentional and fluid within the groove.

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  p.40 — Snare on the “ah”

  This page places the snare drum on the “ah” of the beat, followed immediately by a stroke on the downbeat—creating a subtle but tricky anticipation. These patterns demand precision and awareness of rhythmic momentum. With the ostinato pushing forward and the bass holding steady, this phrasing sharpens your ability to land transitions cleanly and shape grooves with intention.

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  p.41 — Snare on the “e”

  Here, the snare hits on the downbeat and the “e”, forming a quick and compact rhythmic figure. Against the steady hi-hat and quarter-note bass, your timing must be exact to avoid dragging or rushing. These grooves develop a sharper sense of subdivision and right-left balance, essential for crisp phrasing.

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  p.42 — Snare Phrasing Complete

  This page brings together all the snare phrasing concepts explored in Part 2—syncopation, rests, dotted rhythms, offbeat strokes, and dense sixteenth-note movement—into fully developed grooves. With the ostinato and bass drum forming a stable frame, your snare voice becomes the expressive center. This is both a final challenge and a full demonstration of your expanded coordination and groove vocabulary.

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  p.43 — Part 3: Ostinato C (Title Page)

  Part 3 introduces a new level of rhythmic challenge with Ostinato C: a repeating three-note hi-hat pattern made up of a sixteenth rest followed by three sixteenth notes (counted: rest-e-&-ah). This displaced ostinato shifts the rhythmic weight off the downbeat, demanding heightened timing awareness, internal pulse control, and coordination between limbs.

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  p.44 — Getting Started with Ostinato C

  This page reintroduces the coordination patterns from Page 2 of Part 1, but now with Ostinato C in the hi-hat—a three-note figure beginning with a sixteenth rest, displacing the rhythm slightly behind the beat. Even though the bass and snare remain the same, everything feels different. This page teaches you to hear and feel time without relying on the downbeat, developing stronger internal pulse and awareness.

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  p.45 — Adding Eighth Rests (1)

  Eighth rests in the bass drum part now interact with the displaced feel of the hi-hat ostinato. The missing sixteenth on the downbeat creates a gap that makes syncopation feel even more pronounced. Precision and patience are essential here—every note and rest carries more weight in the groove.

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  p.46 — Adding Eighth Rests (2)

  With more frequent eighth rests in the bass drum, the silence becomes as important as the sound. The displacement in the hi-hat creates added complexity, challenging your ability to maintain groove across broken subdivisions. This page helps build quiet confidence in timekeeping—holding the shape of the rhythm even when the beat disappears.

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  p.47 — Adding Eighth Rests (3)

  This page expands rest phrasing even further in the bass drum voice. The displaced ostinato keeps your ears guessing, so you’ll need to feel the sixteenth grid without relying on traditional landmarks. It’s a powerful challenge for rhythmic independence and listening depth.

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  p.48 — Dotted Eighths on Bass (1)

  The dotted eighth + sixteenth rhythm in the bass drum is now placed under Ostinato C. These stretched rhythms already delay the pulse—but now, with the hi-hat avoiding the downbeat, your ability to feel through long subdivisions is put to the test. A great page for developing phrasing control and timing.

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  p.49 — Dotted Eighths on Bass (2)

  Combining dotted rhythms with eighth rests on the bass drum creates a shifting low-end that moves in and out of time under a hi-hat figure that’s already offset. These grooves force you to navigate multiple levels of syncopation, helping you develop stability and groove flexibility.

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  p.50 — Dotted Eighths on Bass (3)

  This page expands the variety of rests and stretched rhythms in the bass drum voice. You’ll need to play behind and ahead of the beat while maintaining a displaced hi-hat ostinato. These are coordination puzzles designed to deepen your understanding of groove mechanics.

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  p.51 — Two Sixteenths on Bass (1)

  The first appearance of two sixteenth notes in a row on the bass drum in Part 3 challenges your foot control, especially under a hi-hat rhythm that doesn’t reinforce the beat. This page sharpens your timing and teaches you to keep your footwork clean and consistent through rhythmic displacement.

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  p.52 — Two Sixteenths on Bass (2)

  Adding eighth rests to the bass drum while keeping doubles in play creates contrast between motion and space. You’ll need to keep your coordination fluid while your bass drum shifts roles—sometimes active, sometimes restrained—all while the hi-hat sits slightly off the grid.

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  p.53 — Two Sixteenths on Bass (3)

  Now incorporating quarter rests along with doubles and eighth rests in the bass drum, this page puts your foot independence and timing to the test. The displaced ostinato further removes your usual reference points. This is a study in precision, control, and mental clarity under pressure.

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  p.54 — Syncopated Sixteenth Bass Phrasing (1)

  The sixteenth rest followed by a sixteenth note on the “e” in the bass drum makes its return—now layered under Ostinato C. This phrasing lines up in unexpected ways with the hi-hat, making the groove feel off-center. This page builds your ability to hear time in the gaps and reinforces rhythmic maturity.

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  p.55 — Syncopated Sixteenth Bass Phrasing (2)

  Adding more sixteenth rest entries, dotted rhythms, and eighth rests in the bass drum pushes this coordination challenge further. With Ostinato C subtly displacing the groove, you’ll need heightened focus and internal subdivision to hold everything together.

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  p.56 — Moving the Snare (1)

  Snare strokes now move off beats 2 and 4 and begin appearing on “&” and “ah.” This displacement in the snare aligns in interesting ways with the hi-hat rhythm, making the groove feel loose but still intentional. This page introduces snare phrasing independence and groove elasticity.

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  p.57 — Moving the Snare (2)

  More snare placements are introduced on “e,” “&,” and “ah”, adding shape and variety to the groove. The challenge is to let your left hand roam freely while your right hand and foot maintain structure. Ostinato C’s displacement adds a layer of rhythmic instability that sharpens your awareness.

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  p.58 — Moving the Snare (3)

  The snare voice now moves throughout the sixteenth grid, requiring clean execution, consistent feel, and rhythmic clarity. The displaced ostinato will test your ability to hear and place strokes correctly—this is where true phrasing control begins.

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  p.59 — Two Sixteenths on Snare (1)

  This page introduces two sixteenth notes on the snare followed by an eighth rest, creating bursts of sound followed by silence. The groove is filled with tension and release, especially under a hi-hat figure that never hits the downbeat. You’ll learn to place notes and rests with more musicality and purpose.

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  p.60 — Two Sixteenths on Snare (2)

  Dotted eighth + sixteenth figures now appear in the snare voice, combining with Ostinato C to create long, stretched phrasing against an already displaced feel. You’ll need to track the full grid without any obvious reference points—this is where musical phrasing becomes an internal discipline.

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  p.61 — Snare on the “ah”

  A snare stroke on the “ah” before the downbeat, followed by a downbeat snare, challenges your ability to transition smoothly across barlines. With the hi-hat slightly behind the pulse, this figure feels more dramatic—building anticipation and sharpening your timing precision.

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  p.62 — Snare on the “e”

  This tight two-stroke snare phrase on the downbeat and the “e” moves quickly and requires fast rebound and precise subdivision. The hi-hat displacement makes it even more challenging to lock these phrases in—demanding a high level of coordination and rhythmic trust.

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  p.63 — Snare Phrasing Complete

  The final page in Part 3 brings everything together. The snare voice explores the full grid—syncopation, dotted rhythms, rests, bursts, and resolution—beneath the displaced flow of Ostinato C. This is a coordination and phrasing milestone, where every limb works independently yet musically as part of a unified groove.

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  p.64 — Part 4: Ostinato D (Title Page)

  Part 4 introduces Ostinato D: a flowing three-note hi-hat rhythm made up of a sixteenth note, an eighth note, and another sixteenth note (counted: 1 e–&–ah 2 e–&–ah…). This pattern blends short and long subdivisions, forming an asymmetrical phrase that has a rolling, syncopated quality.

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  p.65 — Getting Started with Ostinato D

  Returning to the grooves from Page 2, this time under the flowing rhythm of Ostinato D, everything feels more melodic and less grid-bound. The short-long-short hi-hat pattern shifts your perception of the beat, challenging you to realign familiar coordination patterns within a more lyrical rhythmic frame. This page sets the tone for phrasing awareness and coordination fluidity.

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  p.66 — Adding Eighth Rests (1)

  Eighth-note rests in the bass drum part take on a new character beneath the swing-like contour of the hi-hat rhythm. You’ll feel the groove pull forward and backward as space interacts with the stretched middle note of the ostinato. This page is about managing subtle timing tension while maintaining groove continuity.

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  p.67 — Adding Eighth Rests (2)

  More eighth rests in the bass drum create larger gaps, but the Ostinato D pattern smooths over these spaces, encouraging more dynamic phrasing. The challenge is keeping the rhythm centered while your limbs shift in and out of alignment. A page that builds both patience and precision.

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  p.68 — Adding Eighth Rests (3)

  This page adds more complexity to bass drum rest phrasing while the hi-hat keeps rolling. The result is a groove that constantly shifts balance, forcing you to maintain internal consistency without relying on obvious downbeat reinforcement. A subtle test of rhythmic presence.

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  p.69 — Dotted Eighths on Bass (1)

  Introducing the dotted eighth + sixteenth rhythm in the bass under Ostinato D creates phrasing that stretches and breathes. The contrast between the bass drum’s delayed entrance and the hi-hat’s flowing contour trains you to feel subdivision deeply—even when things feel offset.

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  p.70 — Dotted Eighths on Bass (2)

  Combining dotted figures and rests in the bass drum produces a low-end rhythm that floats in and out of time. When paired with the unevenness of the hi-hat shape, these grooves build advanced listening skills and teach you how to phrase with both direction and restraint.

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  p.71 — Dotted Eighths on Bass (3)

  This page brings together a broader mix of bass drum phrasing—dotted rhythms, eighth rests, and syncopation—requiring high-level awareness of note placement against a non-linear ostinato. Here, you’ll learn to phrase more like a composer and less like a technician.

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  p.72 — Two Sixteenths on Bass (1)

  Two sixteenths in a row on the bass drum demand control and speed, especially under the uneven spacing of the hi-hat rhythm. This page trains your ability to manage bursts of motion with clean articulation and relaxed coordination—essential for dynamic playing.

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  p.73 — Two Sixteenths on Bass (2)

  Combining bass drum doubles with eighth rests under Ostinato D creates push-pull grooves that alternate between momentum and silence. Keeping everything locked without tension is the central challenge—your groove must breathe and bounce at the same time.

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  p.74 — Two Sixteenths on Bass (3)

  With quarter rests added to the mix, your foot must remain engaged through long spaces—entering and exiting at precise moments. The rolling motion of the hi-hat line provides forward drive, but your coordination must supply the structure.

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  p.75 — Syncopated Sixteenth Bass Phrasing (1)

  This page features sixteenth rest + sixteenth note on the “e” in the bass drum—an offbeat figure that, against Ostinato D, feels loose and staggered. Your internal timekeeping must stay locked, even when nothing lands where you’d expect.

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  p.76 — Syncopated Sixteenth Bass Phrasing (2)

  More complex combinations of eighth rests, sixteenth rests, and dotted rhythms in the bass drum stretch the groove in multiple directions. The hi-hat’s flowing contour is your constant—this page teaches how to ride a shifting groove without falling out of it.

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  p.77 — Moving the Snare (1)

  Snare strokes now appear on “&” and “ah”, creating phrasing that avoids the backbeat. The rhythmic shape of Ostinato D pulls the groove forward while your snare plays against the expected rhythm, developing a deeper sense of independence and offbeat control.

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  p.78 — Moving the Snare (2)

  More variety in snare placement introduces phrasing across “e,” “&,” and “ah”. The rolling feel of the hi-hat line supports these placements, but you’ll need to manage how and when each stroke lands to keep the groove feeling intentional and connected.

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  p.79 — Moving the Snare (3)

  This page places snare strokes throughout the sixteenth-note grid, requiring clean movement and clear articulation. Ostinato D’s uneven pattern challenges your ability to phrase rhythmically without relying on a strict downbeat orientation. A true coordination test.

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  p.80 — Two Sixteenths on Snare (1)

  Two snare sixteenths followed by an eighth rest produce short rhythmic flurries that resolve into space. These grooves teach you to play with momentum and patience, letting the snare contribute to the groove’s phrasing instead of simply marking time

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  p.81 — Two Sixteenths on Snare (2)

  Here, the dotted eighth + sixteenth figure appears in the snare drum, creating tension that stretches across the beat. With the rolling hi-hat as a counterpoint, this phrasing challenges your sense of alignment and touch—timing must be confident and deliberate.

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  p.82 — Snare on the “ah”

  The snare lands on the “ah” before the downbeat, followed by another stroke on beat 1. This figure, set against Ostinato D, pushes you to manage tension and release with subtlety. You’ll need control and awareness to deliver these phrases with precision and fluidity.

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  p.83 — Snare on the “e”

  The snare hits tightly on the downbeat and the “e”, requiring quick movement and exact placement. With the hi-hat’s changing subdivision lengths underneath, this figure becomes a fine-tuning tool for clarity and balance between hands.

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  p.84 — Snare Phrasing Complete

  This final page in Part 4 pulls together every snare concept—syncopation, bursts, rests, dotted figures, offbeat hits, and sixteenth flow—under the elegant shape of Ostinato D. Coordination becomes phrasing, and control becomes expression. This is where everything connects.