table of contents - row-loffa well tuned snare drum is as important to the drummer as their playing...
TRANSCRIPT
How To Use This Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Snare Drum Set-Up & Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Snare Drum Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Lesson 1 - Let’s Get Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Lesson 2 - Quarters, Halves and Wholes (Notes & Rests . . . that is) . . . . . . . . . 13
Lesson 3 - Eighth Notes & Eighth Rests . . . . . . . . . . . . . . . . . . . . . . . . 18
Lesson 4 - Accents & Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Lesson 5 - Sixteenth Notes & Sixteenth Rests . . . . . . . . . . . . . . . . . . . . 31
Lesson 6 - Basic Rolls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Lesson 7 - Paradiddles (Single & Double) & Cut Time . . . . . . . . . . . . . . . . . 47
Lesson 8 - Flams, Drags & Road Maps . . . . . . . . . . . . . . . . . . . . . . . . . 54
Lesson 9 - Triplets & Triple Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Lesson 10 - Nailin’ It Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Accessory Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
- 2 -
Table of Contents
About The AuthorsChris Crockarell & Chris Brooks, known to most as “Crock & Brooks”, have spent alifetime in the world of drums and percussion. They both attended McGavock HighSchool in Nashville, TN, which for over 30 years has had one of the premiere bandprograms in the country, and after graduation went their separate ways to pursuecareers as professional drummers. Over the next 20 years they played stage shows,marched drum corps, toured with artists, worked as recording drummers, giggingdrummers and on occasion worked a few drum lines. In 1990, based on the populari-ty of drum lines, they started Row-Loff Productions. Row-Loff was immediately rec-ognized as a ground breaking publisher of percussion literature. Over the past 20years, Row-Loff Productions has become a premiere publisher of percussion literaturewith a diverse library of concert percussion ensembles, drum line features, novelty lit-erature, solo/method books and DVDs. This book is a culmination of their life expe-riences as drummers, teachers, writers, publishers and percussion aficionados.
“Crock & Brooks”
- 5 -
Snare Drum - TuningA well tuned snare drum is as important to the drummer as their playing ability.
A great sounding instrument will motivate the player to do their best, so take time to learn the craft of tuning your drum.
BBaatttteerr HHeeaadd ((TToopp HHeeaadd))
SStteepp 11:: If you have a new snare drum, using your drum key, loosen all the tension rods so there’s no tension on the hoop.The tension rods should be loosened to the point that you can turn them with your fingers.
SStteepp 22:: Place your hand in the middle of the head and press firmly. This will properly seat (align) the head on the shellof the drum.
SStteepp 33:: Finger tighten the tension rods in pairs, using the cross-tension sequence in Figure 1 (1 & 2, 3 & 4, etc.).
SStteepp 44:: After the tension rods are snug, again press the middle of the head firmly with your hand. Finger tighten onceagain as in Step 3.
SStteepp 55:: Using your drum key, tighten the rods around the drum either using the cross-tension sequence (Figure 1) or theclockwise sequence (Figure 2). Tighten each rod 1/2 a turn. As you tighten, use your finger or a drumstick and tap thehead two inches from the rim where you’re tightening. When doing this, listen to match the pitches at each lug (seeFigure 3).
SStteepp 66:: Continue tightening the head, always completing the sequence until the head is firmly tensioned.
At this point you may need to “fine tune” your drum using 1/4 turns or less.The pitch of the head should be the same at each lug.
SSnnaarree HHeeaadd ((BBoottttoomm HHeeaadd))
Release the snare strainer, turn the drum over and repeat steps 1 - 6 from above. You’ll need to hold the snares off thehead when you’re checking the tuning. Also, because the snare head is much thinner than the batter head, use your fin-ger (not a stick) to check your tuning.
SSnnaarree TTeennssiioonn
After tuning both heads, turn the snares on and loosen the snare adjustment screw to the point of the snares being veryloose. While slowly tightening the screw, lightly tap in the middle of the top head until the snare rattle is gone and there’sa clean, short snare sound. Don’t overtighten or you’ll “choke” the sound of the drum. Tapping lightly and not hearinga snare response tells you the snares are too tight and the drum is choked.
If your drum is ringing excessively, you may need to apply a slight amount of muffling to the batter head. Somethingas simple as placing a wallet on the head closest to your body can do the trick. For more options, check out the DVD.
Figure 1 Figure 2 Figure 3
1
2
3
5
7
9
10
8
6
4
1
6
2
3
4
5
10
9
8
7
- 9 -
Let's Make Some Noise . . . The Full StrokeFirst, let's try a little exercise without your sticks. With your righthand, tap on your drum head using your knuckles, like you'd knockon a door. Primary movement should be from the wrist. There shouldbe little movement of your forearm. Now try it with your left hand.This is the same motion you'll use for the full stroke. Practice thisuntil it feels comfortable.
Now, with your sticks in the proper matched grip playing position,use the same wrist motion and hit the drum a few times with yourright stick. For the full stroke, allow the stick to rebound off thehead. The tip of the stick should always be moving straight up ordown in a constant fluid motion. As the stick comes up, your backthree fingers should relax and move with the stick. When the stickcomes down, the same three fingers should lightly squeeze back intoa closed position. Once this feels comfortable give the left hand a try.
When playing the full stroke, always keep these things in mind:� Let the drum head do most of the work. (Allow the stick to rebound off the head.)� Maintain a fluid and relaxed motion.� The tip of the stick should always be moving straight up or down.� Primary movement should be from the wrist. There should be little movement of your forearm.� As the stick comes up, allow your back three fingers to relax and move with the stick.� As the stick comes down, squeeze the stick lightly with the back three fingers.
The “full stroke” is also referred to as the “natural stroke”.
Left Hand Traditional Grip (full stroke)The wrist motion for left hand traditional grip is similar to turning adoor knob. Using this rotating motion, hit the drum a few times withyour left stick. Let your forearm turn with your wrist. Allow the stickto rebound off the head and make sure the tip always moves straightup or down in a constant fluid motion. Keep in mind that when thestick rebounds you maintain your grip as described on page 7.
With left hand traditional grip,always keep these things in mind:
� Allow the stick to rebound off the head.� Maintain a fluid and relaxed motion.� The tip of the stick should always be moving straight up or down.� Let your forearm turn with your wrist.� As the stick moves up and down, maintain your grip.
from Lesson 1
- 14 -
÷4
4 œ œ œ œ
1
R
2
L
3
R
4
L
˙
1 - 2
Œ
(3)
œ
R
4
L
œ ˙
2 - 3
œ
1
R L
4
L
œ œ Œ
(3)
œ
1
R
2
L
4
L
÷ Œ
(1)
œ Œ
(3)
œ
2
L
4
L
œ œ ˙
3 - 41
R
2
L R
œ Œ
(2)
˙
3 - 41
R R
Ó
(1) - (2)
œ œ
3
R
4
L
÷ œ Œ
(2)
œ œ
1
R
3
R
4
L
Œ
(1)
˙
2 - 3
œ
L
4
L
œ Ó
(2) - (3)
œ
1
R
4
L
w
1 - 2 - 3 - 4
R
÷ ˙
1 - 2
˙
3 - 4
R L
œ œ œ œ
R
1
L
2
R
3
L
4 (1) - (2 ) - (3) - (4)
∑ œ œ ˙
3 - 4
R
1
L
2
R
Snare Drum: 1 2 (3) (4)
Horn Player: 1 2 (3) (4)
Note Duration & CountingWhen a horn player plays a half note ( ), it is played for the duration of 2 counts. When a snare drummer plays a halfnote only the short attack of the note is heard, but the note receives 2 counts. The same applies to a whole note, whichreceives 4 counts. In the two examples below, you play on beat 1 and count the remainder of the measure.
h
h
h
Snare Drum: 1 2 3 4
Horn Player: 1 2 3 4
w
w
For a real time demonstration, check out Lesson 2 on the DVD.
Œ
ŒŒ
Œ
In snare drum playing, duration is accomplished with the use of a roll. We’ll cover rolls in Lesson 6.
Below are some examples of rhythms that are written differently, but are played the same on a snare drum.
4
4
4
4
4
4œ
1
Œ
(2)
Œ
(3)
Œ
(4)
˙
1 - 2
Ó
(3) - (4)
w
1 - 2 - 3 - 4
4
4
4
4
4
4
4
4œ
1
Œ
(2)
œ
3
Œ
(4)
˙
1 - 2
˙
3 - 4
Ó
(1) - (2)
œ
3
Œ
(4)
Ó
(1) - (2)
˙
3 - 4
4
4
4
4
4
4
4
4Œ
(1)
œ
2
Œ
(3)
Œ
(4)
Œ
(1)
˙
2 - 3
Œ
(4)
œ
1
Œ
(2)
Œ
(3)
œ
4
˙
1 - 2
Œ
(3)
œ
4
= =
= =
= =
Here's a short etude combining all of the elements we've mentioned above.Practice this at several tempos using a metronome, Stick Clix, or Groove Trax.
Count 1, 2, 3, 4 as you play and keep solid time.
V
from Lesson 2
÷4
4 ..
œ
1
œ
2
œ
3
œ
4
R L R L
œ
1
œ
&
œ
2
œ
3
œ
&
œ
4
R L R L R L
œ
1
œ
2
œ
3
œ
4
R L R L
œ
1
œ
2
œ
&
œ
3
œ
4
œ
&
R L R L R L
÷4
4 ..
œ
1
œ
&
œ
2
œ
&
œ
3
œ
4
R L R L R L
œ
1
Œ
(2)
œ
3
œ
&
œ
4
œ
&
R R L R L
œ
1
œ
2
œ
&
œ
3
œ
&
œ
4
R L R L R L
œ
1
œ
&
œ
2
œ
&
œ
3
œ
4
R L R L R L
÷4
2 ..
œ
1
œ
&
œ
2
R R L
œ
1
œ
2
œ
&
R L L
œ
1
œ
&
œ
2
œ
&
R L R L
œ
1
œ
&
œ
2
R R L
œ
1
œ
2
œ
&
R L L
œ
1
œ
2
œ
&
R L L
÷4
3 ..
œ
1
œ
&
œ
2
œ
&
œ
3
R L R R L
œ
1
œ
&
œ
2
œ
&
œ
3
L R L L R
œ
1
œ
2
œ
&
œ
3
R L L R
œ
1
œ
2
œ
&
œ
3
L R R L
÷4
4 ..
.
.œ
1
œ
2
œ
&
œ
3
œ
&
œ
4
œ
&
R R L R L R L
œ
1
œ
2
œ
3
œ
&
œ
4
R L R L R
œ
1
œ
&
œ
2
œ
3
œ
4
œ
&
R L R L R L
œ
1
œ
&
œ
2
œ
&
œ
3
Œ
(4)
R L R L R
Single Paradiddles
- 18 -
LESSON 3 - Eighth Notes & Eighth RestsAn eighth note looks like a quarter
note with a single flag attached.
1)
2)
3)
4)
Consecutive eighth notes areusually beamed (connected). This is an eighth rest.
In a typical 4/4 measure, eighth notes are played twiceas fast as quarter notes and are counted: 1 & 2 & 3 & 4 &.
(They can also be counted: 1 te 2 te 3 te 4 te.)÷
4
4 œ œ œ œ œ œ œ œ
1 & 2 & 3 & 4 &
.
...
œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ œ œ œ œ œ Œ
Repeat Signs 11)) Play to here(backward repeat sign)
22)) Go back to here and play again(forward repeat sign)
* if there is no forward repeat sign,go back to the beginning.
New
s
Flash
÷4
4 ..
œ œ œ œ
1
RL
2
RL
3
RL
4
RL
œ œ œ œ œ œ œ œ
1
RL
&
LR
2
RL
&
LR
3
RL
&
LR
4
RL
&
LR
Play this exercise four timesstarting with the right hand.
Then play four timesstarting with the left hand.
Count 1, 2, 3, 4,1 & 2 & 3 & 4 & as you play.
Quarter / Eighth Combos
Practice at several tempos, and always kkeeeepp ssoolliidd ttiimmee.
5)
Go back to here and play again.
V
V
V
V
V
V
- 27 -
Now let’s combine all three strokes (the downstroke, the tap stroke, and the upstroke) and the aacccceenntt (( )).Practice the following four exercises focusing on proper execution of the different strokes you’ve learned.
Remember - Always keep the stationary stick one to two inches above the head.
DD = Downstroke TT = Tap Stroke UU = Upstroke
÷4
4 ..
œ
>D
œ
T
œ
T
œ
U
œ
>D
œ
T
œ
T
œ
T
R R R R R R R R
œ
>D
œ
T
œ
T
œ
U
œ
>D
œ
T
œ
T
œ
T
L L L L L L L L
÷4
4 ..
œ
>D
œ
T
œ
T
œ
T
œ
>D
œ
T
œ
T
œ
T
R R R R L L L L
œ
>D
œ
T
œ
T
œ
T
œ
>D
œ
T
œ
T
œ
T
R R R R L L L L
÷4
4 ..
œ
>D
œ
U
œ
>D
œ
U
œ
>D
œ
U
œ
>D
œ
T
R R R R R R R R
œ
>D
œ
U
œ
>D
œ
U
œ
>D
œ
U
œ
>D
œ
T
L L L L L L L L
œ
>D
œ
U
œ
>D
œ
T
œ
>D
œ
U
œ
>D
œ
T
R R R R L L L L
œ
>D
œ
T
œ
>D
œ
T
œ
>D
œ
T
œ
>D
œ
T
R R L L R R L L
1)
2)
3)
÷4
4 œ
>D
œ
T
œ
T
œ
T
œ
>D
œ
T
œ
T
œ
T
R R R R L L L L
œ
>D
œ
T
œ
U
œ
>D
œ
T
œ
U
œ
>D
œ
T
R R R R R R R R
œ
>D
œ
T
œ
T
œ
T
œ
>D
œ
T
œ
T
œ
T
L L L L R R R R
œ
>D
œ
T
œ
U
œ
>D
œ
T
œ
U
œ
>D
œ
T
L L L L L L L L
÷ œ
>D
œ
U
œ
>D
œ
U
œ
>F
œ
>F
œ
>F
œ
>D
R R R R R R R R
œ
>D
œ
U
œ
>D
œ
U
œ
>F
œ
>F
œ
>F
œ
>D
L L L L L L L L
œ
>D
œ
U
œ
>D
œ
T
œ
>D
œ
U
œ
>D
œ
T
R R R R L L L L
œ
>D
œ
U
œ
>D
œ
T
œ
>D
œ
U
œ
>D
œ
T
R R R R L L L L
÷ ..
œ
>D
œ
T
œ
U
œ
>D
œ
T
œ
U
œ
>D
œ
T
R R R R R R R R
œ
>D
œ
T
œ
U
œ
>D
œ
T
œ
U
œ
>D
œ
T
L L L L L L L L
œ
>D
œ
T
œ
>D
œ
T
œ
>D
œ
T
œ
>D
œ
T
R R L L R R L L
œ
>D
œ
T
œ
>D
œ
T
œ
>D
œ
T
œ
>D
œ
T
R R L L R R L L
4)
The fourth exercise incorporates successive accents using the ffuullll ssttrrookkee.There are also some eighth note accent patterns in groups of three for a little extra challenge.
÷4
3 ..
œ
>D
œ
T
œ
U
LR R
LRL
œ
>D
œ
T
œ
U
RL
RL
RL
œ
>D
œ
T
œ
U
RL
RL
RL
œ
>D
œ
T
œ
T
RL
RL
RL
DDoowwnn--TTaapp--UUpp PPaatttteerrnn
Work on this simple patternin 3/4 time to get comfortable
playing groups of three notes withthe 1st note being accented.
Play four measures with the right hand, then four measures
with the left hand.
>
V
V
V
V
V
from Lesson 4
- 31 -
LESSON 5 - Sixteenth Notes & Sixteenth RestsA sixteenth note looks like a quarter
note with a double flag attached.
1)
2)
3)
4)
Consecutive sixteenthnotes are usually beamed. This is a sixteenth rest.
r
œ œ œ œ œ œ œ
≈
In a typical 4/4 measure, sixteenth notes areplayed twice as fast as eighth notes and are counted:
1 e & a 2 e & a 3 e & a 4 e & a ÷4
4 œ
11
œ
eta
œ
&te
œ
ata
œ
22
œ
eta
œ
&te
œ
ata
œ
33
œ
eta
œ
&te
œ
ata
œ
44
œ
eta
œ
&te
œ
ata
1st and 2nd EndingsNew
s
Flash
÷4
4 ..
.
.œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1st
œ Œ œ Œ
2nd
œ œ œ œ œ Œ
A B C D E
Play this exercise four timesstarting with the right hand.
Then play it four timesstarting with the left hand.
Count 1 & 2 & 3 & 4 & 1 e & a 2 e & a 3 e & a 4 e & a
as you play.
When a musical phrase is repeated, sometimes the end of the phrase is altered.In the example below, play measures A, B, C, and D, then play measures
A, B, C, and E (skipping measure D when you repeat the phrase).
Note: If there is no forward repeat sign, go back to the beginning.
÷4
4 ..
œ
1
œ
&
œ
2
œ
&
œ
3
œ
&
œ
4
œ
&
RL
RL
RL
RL
RL
RL
RL
RL
œ
1
œ
e
œ
&
œ
a
œ
2
œ
e
œ
&
œ
a
œ
3
œ
e
œ
&
œ
a
œ
4
œ
e
œ
&
œ
a
RL
LR
RL
LR
RL
LR
RL
LR
RL
LR
RL
LR
RL
LR
RL
LR
Practice at several tempos, and always kkeeeepp ssoolliidd ttiimmee.
÷4
2 ..
œ
1
œ
&
œ
2
œ
e
œ
&
œ
a
R L R L R L
œ
1
œ
&
œ
2
œ
e
œ
&
œ
a
R L R L R L
œ
1
œ
e
œ
&
œ
a
œ
2
œ
&
R L R L R L
œ
1
œ
e
œ
&
œ
a
œ
2
œ
&
R L R L R L
÷4
2 ..
œ
1
œ
e
œ
&
œ
a
œ
2
œ
&
R L R L R L
œ
1
œ
&
œ
2
œ
e
œ
&
œ
a
R L R L R L
œ
1
œ
&
œ
2
œ
&
R L R L
œ
1
œ
e
œ
&
œ
a
œ
2
œ
e
œ
&
œ
a
R L R L R L R L
÷4
3 ..
.
.œ
1
œ
&
œ
2
œ
e
œ
&
œ
a
œ
3
œ
&
R L R L R L R L
œ
1
œ
e
œ
&
œ
a
œ
2
œ
e
œ
&
œ
a
œ
3
œ
&
R L R L R L R L R L
œ
1
œ
&
œ
2
œ
e
œ
&
œ
a
œ
3
œ
&
R L R L R L R L
1st
œ
1
œ
e
œ
&
œ
a
œ
2
œ
e
œ
&
œ
a
œ
3
œ
e
œ
&
œ
a
R L R L R L R L R L R L
2nd
œ
1
œ
e
œ
&
œ
a
œ
2
œ
&
œ
3
R L R L R L R
÷4
2 ..
œ
1
œ
e
œ
&
œ
a
œ
2
œ
e
œ
&
œ
a
R L R L R L R L
œ
1
œ
&
œ
2
œ
&
R L R L
œ
1
œ
e
œ
&
œ
a
œ
2
œ
&
R L R L R L
œ
1
œ
&
œ
2
œ
e
œ
&
œ
a
R L R L R L
Eighth / Sixteenth Combos
Another popular counting system for sixteenth notes is: 1 ta te ta 2 ta te ta 3 ta te ta 4 ta te taThis book will use the traditional 1 e & a 2 e & a 3 e & a 4 e & a
V
V
V
- 41 -
÷4
4 ..
œ œ œ œ œ
>
Œ
R L R L R
œ œ œ œ œ œ œ œ œ
>
Œ
R R L L R R L L R
œ œ œ œ œ
>
Œ
L R L R L
œ œ œ œ œ œ œ œ œ
>
Œ
L L R R L L R R L
÷4
4 ..
œ œ œ œ œ
>
œ œ œ œ œ
>
R L R L R L R L R L
Ͼ
œ
>
Ͼ
œ
>
R R L L
œ
>
œ œ œ œæ
œ
>
œ œ œ œæ
R L R L R R L R L R
œ
>
œ œ œ œ œæ
œ
>
R L R L R L L
÷4
4 ..
œ œ œ œ œ
>
Ͼ
œ
>
RL
LR
RL
LR
RL
RL
RL
œ œ œ œ œ
>
Ͼ
œ
>
LR
RL
LR
RL
LR
LR
LR
œ
>
œ@
œ@
œ
>
œ
>
œ@
œ@
œ
>
RL
LR
LR
RL
LR
LR
œ
>
œ œ œ œ œ œ œ œæ
œ
>
RL
LR
RL
LR
RL
LR
RL
LR
RL
RL
1)
2)
3)
The Nine Stroke Roll
œ!
œ!
œ!
œ!
œ
>written
œ!
œ!
œ!
œ!
œ
>
R L R L R L R L R L
œ œ œ œ œ œ œ œ œ
>
played
œ œ œ œ œ œ œ œ œ
>
R R L L R R L L R L L R R L L R R L
Ͼ
œ
>
Ͼ
written
œ
>
R R L L
œ œ œ œ œ œ œ œ œ
>
played
œ œ œ œ œ œ œ œ œ
>
R R L L R R L L R L L R R L L R R L
œ
>
œ!
œ!
œ!
œ!
œ
>
written
œ
>
œ!
œ!
œ!
œ!
œ
>
R L R L R L L R L R L R
œ
>
œ œ œ œ œ œ œ œ œ
>
œ
>
played
œ œ œ œ œ œ œ œ œ
>
R L L R R L L R R L L R R L L R R L L R
œ
>
œ@
œ@
œ
>
œ
>
written
œ@
œ@
œ
>
R L L L L R R R
œ
>
œ œ œ œ œ œ œ œ œ
>
œ
>
played
œ œ œ œ œ œ œ œ œ
>
R L L R R L L R R L L R R L L R R L L R
=
=
=
=
Practice the following exercises to develop your nine stroke roll.
5’s, 7’s & 9’s Are Wild!
÷4
4 œ
f
œ œ œ œ œæ
9
œ
>
R R L R L R R
œ@
5
F
œ
>
œ@
5
œ
>
œ@
5
œ
>
œ
>
L L R R L L R
œ
f
œ œ œ œ œæ
9
œ
>
L L R L R L L
œ œ œ
>
.œ@
7
œ
>
œ œ œ
>
R L R L R R L R
÷ .œ@
7
F
œ
>
œ
>
œ .œ@
7
œ
>
œ
>
R L R L R L R
Ͼ
9
œ
>
œ@
9
œ@
œ
>
œ
>
L L R R L
œ
>
f
œ@
5
œ
>
œ@
5
œ
>
œ@
5
œ
>
R L L R R L L
œ
p
œ œ œ œ
>
.œ@
7
œ
>
.œ@
7
œ
>
f
œ œ
R L R L R L R L R R L
÷ œ
>
œ œ œ œæ
9
œ
>
œ œ œ œæ
9
R L R L R R L R L R
œ
>
œ@
5
œ
>
œ@
5
œ
>
œ œ œ œæ
9
R L L R R L R L R
œ
>
œ
>
œ
>
.œ@
7
œ
>
.œ@
7
œ
>
œ œ œ
R L R L R L R L R L
œ
>
œ
>
‰
j
œ
>
ƒ
Ͼ
9
œ
>
R L L R R
q»92 - 120
V
V
V
V
from Lesson 6
- 47 -
LESSON 7 - Paradiddles (Single & Double) & Cut Time
Great importance should be placed on the stroke types used in the single paradiddle(Down, Up, Tap, Tap) or (Down, Up, Double Stroke). Mastering this sequence will develop flow and speed.
A right single paradiddle is executed by playing a right hand downstroke, followed by a left hand tap/upstroke, then two righthand tap strokes. As speed increases, the two right hand tap strokes will morph into a double stroke. For the left single para-diddle, the sticking is reversed.
œ
>Right Single Paradiddle
œ œ œ
R L R Rœ
>Left Single Paradiddle
œ œ œ
L R L L
÷ œ
>
œ œ œ
R L R R
œ
>
œ œ œ
L R L L
œ
>
œ œ œ œ
>
œ œ œ
R L R R L R L L
œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ
R L R R L R L L R L R R L R L L
The Single Paradiddle
œ
>D
œ
U
œ
T
œ
T
R L R Rœ
>D
œ
U
œ
T
œ
T
L R L L
÷ œ
>D
œ
U
œ
T
œ
T
R L R R
œ
>D
œ
U
œ
T
œ
T
L R L L
œ
>D
œ
U
œ
T
œ
T
œ
>D
œ
U
œ
T
œ
T
R L R R L R L L
œ
>D
œ
U
œ
T
œ
T
œ
>D
œ
U
œ
T
œ
T
œ
>D
œ
U
œ
T
œ
T
œ
>D
œ
U
œ
T
œ
T
R L R R L R L L R L R R L R L L
Single Paradiddle Exercises
÷4
4 ..
œ
>
œ œ œ
R L R R
œ
>
Œ Ó
L
œ
>
œ œ œ
L R L L
œ
>
Œ Ó
R
÷4
4 ..
œ
>
œ œ œ œ
>
Œ
R L R R L
œ
>
œ œ œ œ
>
Œ
L R L L R
œ
>
œ œ œ œ
>
œ œ œ
R L R R L R L L
œ
>
œ œ œ œ
>
Œ
R L R R L
÷4
4 ..
œ
>
œ œ œ œ
>
œ œ œ
R L R R L R L L
œ
>
œ œ œ
R L R R
œ
>
œ œ œ œ
>
œ œ œ
L R L L R L R R
œ
>
œ œ œ
L R L L
÷4
4 œ
>
œ œ œ œ
>
œ
>
œ œ œ œ
>
R L R R L R L R R L
œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ
R L R R L R L L R L R R
œ
>
œ œ œ œ
>
œ
>
œ œ œ œ
>
L R L L R L R L L R
œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ
L R L L R L R R L R L L
÷ ..
œ
>
œ œ œ œ
>
œ
>
œ œ œ œ
>
œ
>
œ œ œ
R L R R L R L R R L R L R R
œ
>
œ œ œ œ
>
œ
>
œ œ œ œ
>
œ
>
œ œ œ
L R L L R L R L L R L R L L
œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ
R L R R L R L L R L R R L R L L
œ
>
œ œ
>
œ œ œ œ
>
Œ
R L R L R R L
1)
2)
3)
4)
V
V
V
V
- 53 -
FFiillll IInn TThhee BBllaannkkss
11)) In the measure below, write two single 33)) In the measure below, write two doubleparadiddles in Cut Time (include stickings). paradiddles in 3/4 time (include stickings).
22)) Fill in the stroke types for the single paradiddles. 44)) Fill in the stroke types for the double paradiddles.
Eye-Q Review - Lesson 7
÷ C
÷4
4
4
3
4
2
4
4œ
>
œ œ œ œ
>
œ œ œ œ œ ‰
R L
œ
>
œ œ œ œ œ œ
>
œ œ œ œ œ
R
œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ
÷4
5≈ œ
>
œ œ œ œ
>
œ œ œ ‰ œ
>
œ
R L R
œ œ ‰ œ
>
œ œ œ œ
>
œ
L
œ œ œ œ œ
>
œ œ œ œ œ ‰ œ
>
œ œ œ œ
>
œ œ œ œ œ ‰ ‰ œ
>
œ œ œ ‰
R
Write in the stickings below.Use only single and double paradiddle stickings.
HHii
EEyyee--QQ
CCrroosssswwoorrdd--aa--ddiiddddlleeAAccrroossss
11. stroke recipe for single paradiddle -
downstroke, upstroke, tap, ______
33. right single paradiddle
88. In Cut Time, a half note receives one ____.
99. a left double paradiddle
1100. L R L L, a left _______ paradiddle
DDoowwnn
22. R L R R
44. another "Cut Time" name
55. L R L R L L, a left ______ paradiddle
66. A time signature that cuts note and rest
values in half.
77. A measure of Cut Time equals two
_______ notes.
10
4
2
5
1
8
6
9
3
7
÷4
3
÷4
4 œ
>—
œ
—
œ
—
œ
—
R L R R
œ
—>
œ
—
œ
—
œ
—
L R L L
÷4
3 œ
>—
œ
—
œ
—
œ
—
œ
—
œ
—
R L R L R R
œ
—>
œ
—
œ
—
œ
—
œ
—
œ
—
L R L R L L
- 57 -
New
s
Flash
Sometimes when reading music you may come across the followingterms or symbols which guide you through the music. These “directions”will have you jumping ahead or going back to a specific measure.
Here are the terms and symbols most commonly used:
Road Map Signs % fi
D.C. = Da Capo - go back to the beginning
D.S. = Dal Segno - go back to the Sign -%
Fine = the end of the piece
Coda = a separate ending to the piece,denoted by a Coda Sign - fi
You will find these terms in many combinations, but the most commonly used are:
D.C. al Fine - Go back to the beginning and play to the Fine.D.S. al Coda - Go back to the Sign, play to the Coda Sign, then jump to the second
Coda Sign to end the piece.
÷4
4 œ œ œ œ œ œ
2œ œ œ œ œ Œ
3 j
œ œ
j
œ œ œ œ œ
4
‰ œ œ œ œ Œ
÷
5œ œ œ ‰
j
œ œ
6œ œ œ œ œ œ œ œ
7
‰ œ œ œ
j
œ œ
j
œ
8
Fine
‰ œ ‰ œ œ œ
÷
9œ œ œ œ œ œ
10
‰ œ œ œ ‰ œ œ œ
11œ œ œ œ œ œ œ œ
12
D.C. al Fine
œ œ œ œ œ
Note: When playing a D.C. or D.S. (unless otherwise marked), the tempo should remain consistent - i.e. DON’T STOP!
÷4
4 œ œ œ œ œ œ
2œ œ œ œ œ Œ
3%
j
œ œ
j
œ œ œ œ œ
4
‰ œ œ œ œ Œ
÷
5œ œ œ ‰
j
œ œ
6œ œ œ œ œ œ œ œ
7fi
‰ œ œ œ
j
œ œ
j
œ
8
D.S. al Coda
‰ œ ‰ œ œ œ
÷
9fi
œ œ œ œ œ œ
10
‰ œ œ œ ‰ œ œ œ
11œ œ œ œ œ œ œ œ
12œ œ œ œ œ
In the example below you will play bars 1 through 8.The DD..SS.. aall CCooddaa tells you to go back to bar 3 (the Sign) and play through the end of bar 6 (Coda Sign).
From the end of bar 6 you will “take the Coda” (jump to bar 9, second Coda Sign) and play to the end (bar 12).
the Sign
1st Coda Sign
2nd Coda Sign
In the example below you will play bars 1 through 12.The DD..CC.. aall FFiinnee tells you to go back to bar 1 (the beginning) and play through bar 8 (Fine), which is the end of the piece.
from Lesson 8
- 59 -
These Flams Are A Drag
÷
÷
4
4
4
4
Player 1
Player 2
j
œ œ
>
f
Œ œ œ œ
>
Œ
R L
Œ
j
œ œ
>
f
Œ œ œ œ
>
R L
2j
œ œ
>
œ
j
œ œ
>
j
œ œ
>
œ
j
œ œ
>
R R L L L R
Œ
j
œ œ
>
œ
j
œ œ
>
j
œ œ
>
œ
R R L L L
3j
œ œ
>
œ œ œ
p
œ
>
œ œ œ œ
>
œ œ œ œ
>
R R L L R R L
j
œ œ
>
œ œ œ
p
œ
>
œ œ œ œ
>
œ œ œ œ
>
R R L L R R L
4
Œ œ
>
f
œ œ
j
œ œ
>
œ
j
œ œ
>
R L R R R L
œ
>
f
œ œ Œ
j
œ œ
>
œ
j
œ œ
>
R L R R R L
÷
÷
5j
œ œ
>
F
œ
j
œ œ
>
œ
j
œ œ
>
Œ
R R L L R
Ó
j
œ œ
>
F
œ
j
œ œ
>
œ
R R L L
6œ
>
œ œ
j
œ œ
>
œ
j
œ œ
>
Œ
R L R L L R
j
œ œ
>
Œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
R R L R L
7
Œ œ œ œ
p
œ œ œ œ œ œ
L R L
j
œ œ
p
Œ Ó
R
8œ œ œ
>
f
Œ Ó
R
‰
j
œ
j
œ
>
f
œ
j
œ œ
>
œ
j
œ œ
>
œ
p
R R L L R L
÷
÷
4
3
4
3
.
.
.
.
.
.
.
.
9œ
p
œ œ
j
œ œ
>
œ
j
œ œ
>
R L R R R L
∑
10
∑
œ œ œ
p
œ œ œ œ œ œ
R L R
11œ
>
f
œ œ œ œ
>
œ œ œ œ
>
L L R R L
œ
>
f
œ œ œ œ
>
œ œ œ œ
>
L L R R L
12j
œ œ
>
œ
j
œ œ
>
œ
j
œ œ
p
R R L L R
j
œ œ
>
œ
j
œ œ
>
œ
j
œ œ
p
R R L L R
÷
÷
4
4
4
4
on rim
13¿
>
F
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿
j
œ œ
>
f
j
œ œ
>
‰ œ œ
j
œ œ
>
œ œ œ
R L L R R
14¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
œ
>
j
œ œ
>
œ
j
œ œ
>
j
œ œ
>
j
œ œ
>
L R R L R L
on rim
15
œ œ œ
f
œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ
R L L R R L L
¿
>
F
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿
16œ
>
œ œ œ œ œ ‰
j
œ
j
œ
>
j
œ œ
>
R L R L R L R L
¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿
>
÷
÷
17j
œ œ
>
Œ œ œ œ
>
Œ
R L
Œ
j
œ œ
>
f
Œ œ œ œ
>
R L
18j
œ œ
>
œ
j
œ œ
>
j
œ œ
>
œ
j
œ œ
>
R R L L L R
Œ
j
œ œ
>
œ
j
œ œ
>
j
œ œ
>
œ
R R L L L
19
‰ œ œ
j
œ
>
‰ œ œ
j
œ
>
¿ ¿ ¿ ¿
R L R R R R
j
œ œ
>
¿ ¿ ¿
‰
j
œ
j
œ
>
‰
j
œ
j
œ
>
R L R L R L
20œ
>
œ œ œ œ ‰
j
œ
j
œ
>
ƒ
j
œ œ
>
R L L R L L R
œ
>
œ œ œ œ ‰
j
œ
j
œ
>
ƒ
j
œ œ
>
R L L R L L R
q»84 - 116
V
from Lesson 8
- 63 -
Triple Meter (12/8, 9/8, 6/8 & 3/8 Time Signatures)
.œ .œ .œ .œ
÷8
12 œ
1
œ
&
œ
a
œ
2
œ
&
œ
a
œ
3
œ
&
œ
a
œ
4
œ
&
œ
a1 2 3 4 5 6 7 8 9 10 11 12
q.»120
( ) ( ) ( ) ( )
q.
q.
q.
q.
q.
q.
÷8
6 œ œ œ œ œ œ
11
22
33
42
52
63
œ œ œ œ œ œ
11
22
33
42
52
63
œ÷ 12
8
œ œ œ œ œ œ œ œ œ œ œ
11
22
33
42
52
63
73
82
93
104
112
123
q.
q.
In a measure of 12/8 there are twelve eighth notes, beamed in groups of three.A composition in 12/8 will typically be counted and/or conducted with fourbeats to the bar, making a dotted quarter note the beat. To simplify the count-ing, the groups of three are counted like triplets: 11 & a 22 & a 33 & a 44 &
When playing in triple meter at a much slower tempo, counting each eighth note is the best wayto keep up with where you are within the measure. Emphasis should remain on the dotted quarter note (the beat).
Below are two common ways of counting when playing at very slow tempos using triple meter.
÷8
12 œ
1
œ
&
œ
a
œ
2
œ
&
œ
a
œ
3
œ
&
œ
a
œ
4
œ
&
œ
a
.œ .œ .œ .œ
The Beat
A measure of 9/8 has nine eighth notesand will typically be conducted in three.
÷8
9 œ
1
œ
&
œ
a
œ
2
œ
&
œ
a
œ
3
œ
&
œ
a
.œ .œ .œ
A measure of 6/8 has six eighth notesand will typically be conducted in two.
A measure of 3/8 has three eighth notesand will typically be conducted in one.
Music with a triplet “feel” is most commonly written using triple meter so groups of three do not have to be designatedwith a number above or below the group. Using triple meter simplifies the look of the music, and makes it easier to read.
In the example below the 12/8 measure is played and sounds exactly the same as the 4/4 measure.
œ œ œ œ
÷4
4 œ
1
œ
&
œ
a
œ
2
œ
&
œ
a
œ
3
œ
&
œ
a
œ
4
œ
&
œ
a
3 3 3 3
q»120
( )( ) ( ) ( )
played thesame as
÷8
12 ..
œ
R
1
‰
(&)
œ
R
a
œ
L
2
‰
(&)
œ
L
a
œ
R
3
‰
(&)
œ
R
a
œ
L
4
‰
(&)
œ
L
a
œ
R
1j
œ
R
a
œ
L
2j
œ
L
a
œ
R
3j
œ
R
a
œ
L
4j
œ
L
a
œ
R
1
œ
L
&
œ
R
a
œ
L
2
œ
R
&
œ
L
a
œ
R
3
œ
L
&
œ
R
a
œ
L
4
œ
R
&
œ
L
a
÷8
12 ..
œ
R
1
œ
L
&
‰
(a)
œ
L
2
œ
R
&
‰
(a)
œ
R
3
œ
L
&
‰
(a)
œ
L
4
œ
R
&
‰
(a)j
œ
R
1
œ
L
&j
œ
L
2
œ
R
&j
œ
R
3
œ
L
&j
œ
L
4
œ
R
&
œ
1
R
œ
&
L
œ
a
R
.œ
2
L
œ
3
R
œ
&
L
œ
a
R
.œ
4
L
÷8
12 ..‰
(1)
œ
&
L
œ
a
R
‰
(2)
œ
&
R
œ
a
L
‰
(3)
œ
&
L
œ
a
R
‰
(4)
œ
&
R
œ
a
L
‰
(1)
œ
&
L
œ
a
R
‰
(2)
œ
&
R
œ
a
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3)
played the same as bar 1
played the same as bar 1
Here are some common rhythmic figures found in triple meter time signatures.In the first two exercises, bars 1 & 2 are rhythmically identical but are written differently.
÷8
6 œ
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from Lesson 9
- 75 -
The 15 Toolbox Essential Rudiments
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FiveStroke Roll
SevenStroke Roll
NineStroke Roll
Thirteen Stroke Roll
SeventeenStroke Roll
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Single Paradiddle Double Paradiddle
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Flam Flam Tap
Flam Accent (in Duple Meter)
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Drag (or Ruff) Single Drag Tap
Flam Accent (in Triple Meter)
When you go to a festival, contest or audition, you may be asked to play certain rudiments “open - closed - open”.This means to start slowly, gradually get faster and slow down to your beginning point (anywhere from 30 to 60 seconds).
Slow - - - - - - - - - - - - - - - Fast - - - - - - - - - - - - - - - SlowYou’ll find a few examples on the Toolbox DVD.
from Lesson 10
- 80 -
Index
A Tempo . . . . . . . . . . . . . . . . . 66
Accelerando . . . . . . . . . . . . . . . . 66
Accents . . . . . . . . . . . . . . . . . . 25
Accessory Percussion . . . . . . . . 78, 79
Coda . . . . . . . . . . . . . . . . . . . 57
Crescendo . . . . . . . . . . . . . . . . . 28
Cut Time . . . . . . . . . . . . . . . . . 49
Da Capo (D.C.) . . . . . . . . . . . . . . 57
Dal Segno (D.S.) . . . . . . . . . . . . . 57
D.C. al Fine . . . . . . . . . . . . . . . . 57
D.S. al Coda. . . . . . . . . . . . . . . . 57
Decrescendo. . . . . . . . . . . . . . . . 28
Diminuendo . . . . . . . . . . . . . . . . 28
Dotted Eighth Notes. . . . . . . . . . . . 34
Dotted Half Notes. . . . . . . . . . . . . 21
Dotted Quarter Notes . . . . . . . . . . . 21
Double Paradiddle. . . . . . . . . . . . . 48
Drag . . . . . . . . . . . . . . . . . . . . 55
Dynamics . . . . . . . . . . . . . . . . . 28
Eighth Notes & Rests . . . . . . . . . . . 18
Fermata . . . . . . . . . . . . . . . . . . 66
Fine . . . . . . . . . . . . . . . . . . . . 57
Flam . . . . . . . . . . . . . . . . . . . . 54
Flam Accent. . . . . . . . . . . . . . . . 66
Flam Tap . . . . . . . . . . . . . . . . . 56
Grooves For Thought . . . . . . 10,28,39,61
Half Notes & Rests . . . . . . . . . . 11,14
Matched Grip . . . . . . . . . . . . . . . 6
Poco a poco . . . . . . . . . . . . . . . . 66
Quarter Notes & Rests . . . . . . . . 11,13
Rallentando. . . . . . . . . . . . . . . . 66
Repeat Measure . . . . . . . . . . . . . . 19
Repeat Sign . . . . . . . . . . . . . . . . 18
Ritard . . . . . . . . . . . . . . . . . . . 66
Rolls,
Buzz . . . . . . . . . . . . . . . . . 43
Cut Time . . . . . . . . . . . . . . . 50
Double Stroke . . . . . . . . . . . . 38
Five-Stroke . . . . . . . . . . . . . . 40
Nine-Stroke . . . . . . . . . . . . . . 41
Seven-Stroke . . . . . . . . . . . . . 40
Seventeen-Stroke . . . . . . . . . . . 42
Single-Stroke . . . . . . . . . . . . . 65
Thirteen-Stroke . . . . . . . . . . . . 42
Triple Meter . . . . . . . . . . . . . 65
Ruff . . . . . . . . . . . . . . . . . . . . 55
Set-Up & Maintenance . . . . . . . . . . 4
Single Drag Tap . . . . . . . . . . . . . 56
Single Paradiddle . . . . . . . . . . . . . 47
Sixteenth Notes & Rests . . . . . . . 31,64
Stick Anatomy . . . . . . . . . . . . . . 6
Strokes,
Down . . . . . . . . . . . . . . . . . 25
Full . . . . . . . . . . . . . . . . . 9,27
Natural . . . . . . . . . . . . . . . . 9
Tap . . . . . . . . . . . . . . . . . . 26
Up . . . . . . . . . . . . . . . . . . 26
Thirty-Second Notes & Slashes . . . . . 39
Ties . . . . . . . . . . . . . . . . . . . . 39
15 Toolbox Essential Rudiments . . . . . 75
Traditional Grip . . . . . . . . . . . . 7,9
Triple Meter . . . . . . . . . . . . . . . 63
Triplets,
Eighth Note . . . . . . . . . . . . . . 61
Sixteenth Note . . . . . . . . . . . . 62
Sixtuplets . . . . . . . . . . . . . . . 62
Tuning . . . . . . . . . . . . . . . . . . 5
Whole Notes & Rests . . . . . . . . . 11,14