Column A uses a new ride pattern; Column B does the inverted, hands-together thing with open hihat, John Guerin-style, with both feet in unison on the close notes; Column C puts the pattern into a sixtuplet rhythm, with a basic cymbal pattern, and Column D does the sixtuplets with RH/RF in unison, and the left hand filling in on the snare drum. I said before I wasn't going to explain these things— if you play them, the relationship of the patterns to the basic idea should be obvious.
Combining the patterns is the whole point of this— we want to be very fluent going from one thing to another. For each line of exercises, after playing each measure individually several times, play every two-measure combination of measures: AB, AC, AD, BC, BD, CD. It's not a terrible idea to do both “iterations” pages together, so you'll be doing all combinations of columns ABCD from both pages. That takes considerably longer to get through, so you may only work through a couple of numbered rows per practice session.
For each of those combinations, play each measure 4 times, then 2 times, then 1 time... playing each of those ways four or more times. So to thoroughly cover, say, the AB combination:
||: A - 4x / B - 4x :|| - repeat 4 or more x
||: A - 2x / B - 2x :|| - repeat 4 or more x
||: A - 1x / B - 1x :|| - repeat 4 or more x
You could do combinations between lines: 1A/2A, 1A/2B, 1A/2C, etc. I think it's unnecessary. It will demand plenty of practice time just doing it the way I suggested.
Except where there are open hihats specified, the cymbal parts can (and should) move freely between the hihat and ride cymbal. Feel free to catch a crash cymbal on any transitions you want. Stickings are always RH on cymbal / LH on snare drum, except where indicated.
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