30

SnareDrumRudiment:

Quarter NoteRolls

Keep the wrist motion consistent in each one of the rolls in these KEY EXERCISES:

Rolls are usually notated with “slashes” through the stem of a note. Asingle slash through the 16th notes tells you to bounce each note. THREEslashes through a note tells you to “roll” for the length of that particularnote. For now, we will play rolls by bouncing 16th notes.

Since a quarter note equals four 16th notes, a quarter note roll is four16ths bounced. Count each quarter note roll as you would four 16ths:

➌

➋

➊

PlayingExercises

Alternate between multiple bounce (buzz) rolls and double bounce rolls in the following exercises.

TechniqueWORKOUT:

Double Bounce

So far, we’ve been working on exercises that utilize relaxed double STROKES. At this point, it is important to learn toturn the relaxed double wrist stroke into a double BOUNCE.

A double bounce is similar to the multiple bounce except that it is produced with a relaxed fulcrum. The squeeze onthe fulcrum “regulates” the space between the bounced notes. Start with 4 relaxed wrist strokes in the first measure,then squeeze the fulcrum just enough to produce a double bounce on each wrist turn in the second measure:

LESSON 11

CD2:1

KEY EX, LINES 1–5

R L R L R R L R L R R L R L R R R L R R L R R L R L

R R R R L R R L R R L R R L R

R R R

1 e & a 21 ta te ta 2

BA C

R L R L R R L R L R R L R L R R L R L R R L R L RL R

Once you’re able to play relaxed double bounces on the right and left separately, try this next exercise. Keep the wristmotion the same from measure one to measure two and adjust the squeeze on the fulcrum in order to produce evensounding bounces:

W W W W W W W W

R L R L R R R L L R R L L R

W W

W W W W W W W W

The back three fingers and relaxed wrists will eventually play a large part in how good your double bounce rolls(sometimes called “open rolls”) will sound. For now, concentrate on keeping a consistent wrist motion from singlestrokes to double bounces. Eventually, you’ll learn to use the fingers and relaxed wrists to strengthen the sound ofthe weaker 2nd stroke.

HOT TIP:Avoid squeezing the

sticks with the back

fingers. The fingers

should be touching the

stick lightly, but without

choking the bounce of

the stick!

HOT TIP:Always count the 16th

note “base rhythm” of

the quarter note rolls

(‘1e & a’ or ‘1 ta te ta’).

Being able to count the

“roll base” or “roll

skeleton” will help you

to develop consistent

sound and evenness

on your rolls.

31

➎

➍

When playing in “8 time,” 16th notes are counted “1-&-2-&” or “1-te-2-te.” Count the quarter note rolls in thefollowing Key Exercises and Reading Exercises in “8 time” as you would four 16th notes.

At the slowest tempo marked, play double STROKES on each roll. Once you speed up, relax the fulcrum and playdouble BOUNCES.

➒

The Double Paradiddle adds an accent and a tap to the beginning of the Single Paradiddle. TheDoubleParadiddle

➐

➏

➑

Quarter NoteRolls in“8 Tme”

PlayingExercises,Continued

RudimentalEtude #10

CD2:3

RUDIMENTAL ETUDE

= 100-150

HOT TIP:It is important to develop

”open rolls” AND “buzz

rolls.” Practice each one of

these lines first with one,

then the other.

CD2:2

LINES 1–6

R R R R

R R R RLRLR L R

R L R L R R R R R L R L R R R R R R L R R R R R L R L R

R R L R L R R R R R L R L R R R R R R L R R R R

R L R L R R L R R R R L R R R R L R R R R R R R L R

R R R L R R R R L R R R R R R R R

R L R L R R L L R L R L L R R L R L R R L R L R L L

R L R L R R R R R R R L R L R R R R

BA

Use the sticking provided for you until you get comfortable with the time signatures.

R L R R L R L L R L R L R L L R L R L R R L R L R L R L R

L R L R R L L R L R R L R L R L R R L R L

32

SnareDrumRudiment:

➊

➋

➍

➌

CoordinationExercises

In “8 Time.” Start at the slowest tempo marked, then gradually increase the speed.

Since a half note equals eight 16th notes, a half note roll is eight 16th notes bounced. Count each half note roll asyou would eight 16ths.

TheHalf Note Roll

TechniqueWORKOUT:

This new technique exercise isolates double bounce strokes (sometimes called “diddles”). At the slowest tempo, workto play 2 relaxed WRIST strokes on each diddle. As you speed up, turn the diddle into a double BOUNCE.

LESSON 12

CD2:5

KEY EX, LINES 1–4

HOT TIP:Practice on a snare

drum as much as

possible! Practice pads

can approximate the

feel of a real drum, but

being able to hear the

sound of your rolls on

a drum is also very

important!

Remember to count the 16th note “roll base” for each of the rolls in these Playing Exercises.

A BBA

= 100-130

Double Strokes

= 140-160

Double Bounces

= 100

= 150

RR L R L RRL R L RRL R L R R LLR L R LLR L R LLR L R

R L RRL R L RRL R L RRL R R L R LLR L R LL R L R LLR

RRL RRL RRL RR L RRL RRL R R LLR LL R LLR LL R LLR LLR

BA

DC

FE

33

PlayingExercises,Continued

The FlamacueStep One

➎

LR

L

To learn the Flamacue, play a soft right hand flam (start with the right stick only 4 inches above the drum before theflam) and immediately lift the grace note. The second stroke – a full downstroke – is on the left.

➐

Start at the slowest tempo marked and work to achieve a 2–3 inch height on all grace notes and inner beats.

➏

Review:Quarter Rollsin “8 Time”

RudimentalEtude #11

CD2:8

RUDIMENTAL ETUDE

= 90-130

CD2:6

LINE 5

R L R R L R

R L R L R L R

RL RL R R R RLRL R R R R R R RL RL R RLR R R L R L R L

R L R R R

RLRLR R R RLRLR R R R R R RLRL R R LR R R R R R R R R L RL R

R L R L

LR

L

CD2:7

LINE 6

up DOWN up DOWN

R L R R L R L L R R L L R R L L R L R R L R L L R R L L R L R

L R L R L R R L R L R L L R L R L L R R L L R L R

34

SnareDrumRudiment:

➊

➋

➌

➍

Since there are only two 16th notes in a 8th note, an 8th note roll is two 16ths bounced. When beating time to thequarter, an 8th note roll on the downbeat is counted “1–e–&” or “1–ta–te.”

8th Note Rolls:On the Downbeat

➊

➋

➊

➋

: FORTE : Loud: MEZZO FORTE : Medium Loud: PIANO : Soft

DynamicMarkings

Dynamic Markings are used in music to tell ushow loud or soft to play. The three most commondynamic markings listed here are used in thefollowing duet.

TechniqueWORKOUT

This exercise helps with the alternating flam by working on accent and grace note heights. The 2 height motion in thefirst measure should be exactly the same as you play the flams in the second measure.

LESSON 13

CD2:10

A–C, LINES 1–4

HOT TIP:Strive to achieve a

consistent volume level

between your rolls and

surrounding notes.

Each flam should have

consistent 1 inch heights

on the grace notes.

L R L R

R L R L

R L

R L

R

R L R R R R R R L R R R R L R R R R L R L R R R R L R R

R LR R RL R R R R R L R L R R R R R R R R R

R R R R R R L

R R R R R R R

R R R R R R R R R L R L R L R L L L L L L L L L R L R L R L

BA C

HOT TIP:Composers often use

dynamics to create

musical effects. The piano

volume level in this duet

is used to create an

“accompaniment” part

while the stronger voice

has the “melody” – or

lead line.

35

8th Note Rolls:On the Upbeat

8th note rolls on the upbeat are counted “1 &-a-2” or “1 te-ta-2.” Follow the sticking in these exercises.

➒

In the previous lesson (Flamacue, Step One), we learned to play a soft right hand flam with an upstroke grace note,then a left hand downstroke. In this exercise, we finish the flamacue with a soft left hand tap and a right handdownstroke flam.

The FlamacueStep Two

This etude is written for two drums — a tenor drum (low note) and a snare drum (high note) – and has a “rock” feel. Two DrumEtude

➑

➎

➐

➏

RudimentalEtude #12

CD2:13

RUDIMENTAL ETUDE

= 100-140

CD2:11

D–F, LINES 5–7

R R L R L R R L L R R L R R R L R L

R L R R R R L R R R L R R L R L R R L R L R L R R L

R L R R L R R R L R L R L R L R R L R L R R

R L R L R R L R L R R L R R L R L L R R L L R L R

L R L R L R L R L L R R L L R L R L R L R

R R L R R LR R R R L R LR R LR R R LR R L R L R LR R L R

R RL R R R L R R RL R L R L R RL R R RLR R R RL R

CD2:12

TWO DRUM ETUDE

HOT TIP:Relax your wrists and slide

your forearms “side to side”

when moving from one drum

to the next. Your hands

should stay flat (or nearly

flat), with your elbows close

to the body.

ED F

up DOWN up tap DOWN

R L R L R

36

SnareDrumRudiment:

➌

➋

➊

Keep the back fingers in contact with the stick when playing rolls. Also, make sure that you are not “pulsating” yourright hand (playing the right hand stronger than the left).

–OR–Notice that in this new rhythm, the8th rest takes the place of thefirst 8th note.

This short piece uses all of the dynamic markings that we have learned so far. Start at the slowest tempo marked, thenwork up to the fastest tempo that you can play (without sacrificing quality!).

: Diminuendo : Gradually getsofter

: Crescendo : Gradually getlouder

More DynamicMarkings

TechniqueWORKOUT

The progress chart on page 76 has a complete list of exercises and rudiments that you should be working on at thispoint in the book. Because the list grows as you add more techniques and rudiments, you might need to alternatebetween them (select one rudiment from each family rather than work on all of them in one practice session).

Developing great technique requires mental discipline and consistent practice!

LESSON 14

CD2:15

KEY EX, LINES 1–6

New Rhythm

1 & a 2 & a

& a & a

1 te ta 2 te ta

te ta te ta

R R L R R L R R R L R L R L R L R L R L R L R

R R LR L RL R R R LR L RLR L RLRL R RL R

RL R R RL RL R L RLR R R

L L R L R L L L L R

BA C

HOT TIP:Count the first two 16ths

out loud on the 8th rest

in this new rhythm

pattern. SUBDIVIDING a

rest will keep you from

rushing and also help

rhythmic accuracy.

= 80 – ??

HOT TIP:Avoid the “age–old”

problem that most

drummers have: rushing

when you play louder!

Work with a metronome

to develop tempo control

on all dynamic levels!

37

–OR–Notice that in this new rhythm, the8th rest falls on the upbeat.

➍

➏

➎

➐

Reviewing Rollsin “8 Time”

TheAlternating Ruff

Like the flam, the ruff is a combination of an upstroke (this time bounced), and a downstroke. Unlike the flamhowever, the ruff is played with a “pickup” bounce stroke, with more space before the primary stroke. Practice thelong buzz “pickup strokes” in Exercise A for several days before attempting the double bounce ruff in Exercise B.

➑

RudimentalEtude #13

CD2:17

RUDIMENTAL ETUDE

= 100-140

CD2:16

LINE 7

New Rhythm

1 ta te 2 ta te

1 ta 2 ta

R L R R R L R RLR R L R L R RL R L R

LR RR LL R R L R L R R R R R R R R L R R L R

R R LR L R R R L R R R L R R R R R R

LL R RRLL — R R — L L —

R L R LR R L L R L R L R R L L R L R L R L L RL RR

L R L R L R LR L R L R L R L R L R R L R L R L L R L R L R L R L R L R L

Make sure that you “prep” the stick heights for each one of the ruffs in this etude (set the hands at grace note/accent note heights). Think of each ruff as two separate strokes (and-ONE, and-TWO) until you get the feel for it.

Remember to count each quarter note roll as you would four 16th notes. Practice both types of rolls: open (doublebounce) rolls and buzz (multiple bounce) rolls.

BA

1 e & 2 e &

1 e 2 e

R R R L RL

L L RL RL R R L R

R L

R L RL R

38

SnareDrumRudiment:

The DragParadiddle #2

Each of these short exercises work on playing accent patterns in 6/8. Make sure that you are playing with only “twoheights” – a full stroke height (12 inches) on the accents and the soft tap height (2-3 inches) on the “innerbeats.”Once you have them all perfected, learn Exercise #17 on page 80 in the back of the book.

The Drag Paradiddle #2 is a combination of two drags (or “Ruffs”) and a Single Paradiddle.

The ‘slash’ notation in this first example literally means to play two strokes in the place of each 8th note (two 16thnotes), so if you are playing in a slow tempo, the double will be very open – just as you would play 16ths.

This etude incorporates the new musical terms. The last line even combines some of the terms to tell you how to playthe entire line! The dotted half note roll in this etude is equal in value to three counts of bounced 16th notes.

New MusicalTerms

poco a poco : little by little -or- gradually

ritardando (abbr. ritard) : gradually slacking in speed

fine (pronounced FEE-nay) : the end or close: the finish

fermata ( ) : hold or pause

TechniqueWORKOUT

LESSON 15

CD2:19

ETUDE

cresc.

dim. poco a poco al fine ritard.

DOWN up tap DOWN

RL

LR

RL

LR

R L R L R L R R L R L R L R

= 120-240

R LL R LLR L R R L RRL RRL R L L

R LLR LLR L R R L RRL RRL R L L

This example utilizes the “traditional” way of notating the drags. In this example, the ruff always sounds the same –no matter the tempo. A good percussionist should be able to play drags with either interpretation.

HOT TIP:On the CD, you‘ll notice

that I use the buzz roll.

Listen closely to the sound

of each roll! If you are

working consistently on

the sound of your buzz

strokes, you will be able to

make your rolls sound just

as good!

BA C

HOT TIP:You can hear me play the

two different interpreta-

tions of this rudiment at:

www.TheDrumClub.com

39

Pick–Up NotesPick–Up Notes begin before the first measure and are borrowed from the last measure.

The whole note roll in Exercise #3 is equal in value to 4 counts of bounced 16th notes.

Eighth Note Rollsin “8 Time”

PlayingExercises

Count the 8th note rolls in the following exercises as you would two sixteenths: “1-&-2” or “1-te-2.” Notice that inexercise #6, the first two measures are counted exactly alike.

➎

➍

➌

➋

➊

Play the Ruffs and the Drag Paradiddles with the “traditional” interpretation in this rudimental etude.

➏

➐

➑

RudimentalEtude #14

CD2:22

RUDIMENTAL ETUDE

= 100-140

CD2:20

LINES 1–5

HOT TIP:In “rudimental” style

drumming, rolls always

have a consistent

interpretation – play them

as exact subdivisions of the

roll base.

RL R L R R R

HOT TIP:You have to use your

“music math” skills to

determine where to play

pickup notes.

CD2:21

LINES 6 & 7

R L L R

LL R RRL LLR LLR LLR L R R L LL R RRL RR L RRL R L L

R L R R L RRL RRL R L L R LLR LLR L R R L R L L R L R L R

L R L R L R L R L R L R L R LLR LL R L R R L R L L R

40

SnareDrumRudiment:

Two DrumEtude

Including the Single and Double Paradiddle. Start slow, with 6 beats to a measure. Watch the stickings!

You Draw Supply the missing note in the following measures. Use only one note fromthe following note values: , ,., ,

➎

➍

➌

➋

➊

➓

fine➒

➑

➐ ritardando

➏ poco a poco

Fill in theBlanks

Provide the definition for the following musical terms and symbols.

GRADUATION TEST: 3

R L R L R L R L R L R L R R L R L L R L R L R L R L R L L R L R R

R L R L R R L R L R L R L R R L L R L R L R R L R L R L L R L R R L R L L R L R R

L R R L R R L R L R R L R L R L R L R L R L R L R

TechniqueWORKOUT

Check your progress on the Technique Exercises and Rudiments against these recommended tempos:

CD2:24

TWO DRUM ETUDE

= 140-180

#1: = 174

#8: = 154 Single Paradiddle: = 160

Double Paradiddle: = 160#9: = 116

Five Stroke Roll: = 150

Single Stroke 7: = 104

#14: = 140

#15: = 68

#16: = 80

#17: = 70

Flam Tap: = 140

Flam Paradiddle: = 140

Flamacue: = 112

Ruff: = 60

Technique Exercises: Rudiments (p. 82 & 83):

Nine Stroke Roll: = 150

Thirteen Stroke Roll: = 150

Flam: = 140

41

Rhythmic Etude:In “QuarterTime”

RudimentalEtude #15

Use “open” rolls in the Rudimental Etudes. Strive for a clean double bounce on each roll and drag.

Rhythmic Etude:In “8 Time”

Notice that is etude includes a repeated section with different dynamic levels. The first time through, play piano,the second time, play forte. Use buzz rolls on this etude.

R L R

L R L L R R R L R R L R L R

R L R

R L R R L L R L R L R R L R L L R L R R L R L R L R R L L

R L R L R R LR L L R L R L R L R L R L R L R L R L R L R L R L R R R L R R

L L L R L L R L R L R L R L R L R L R L R L R R L R L R L L R L R

Try to make the dynamics consistent throughout this etude (the piano should always have the same volume, nomatter where you are in the etude).

CD2:27

RUDIMENTAL ETUDE

= 120-150

CD2:25

LINES 1–5

HOT TIP:A great way to make your

dynamic levels consistent

is to practice all of the

measures within a piece

that have the same volume

levels. For example,

practice the first 6

measures, then the first 8

measures of the 4th line to

establish a consistent

piano volume level.

CD2:26

ETUDE IN 8 TIME

= 140-180

= 80-110