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TO: Paul Rennick, Thom Hannum, Tom Float, Ralph Hardimon and Fred Sanford. Thank you for your time and your teaching.

COPYRIGHT 2004 • JEFF QUEEN PRODUCTIONS • ALL RIGHTS RESERVED JEFF QUEEN PRODUCTIONS • 8420 CHARTER OAK DR. •INDIANAPOLIS, IN 46260 317-201-0149 • orders @jeffqueen.com • www.jeffqueen.com


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How to use this book: This book is intended for anyone who plays with sticks, regardless of ability. I have included many basic and fundamental exercises along with many advanced concepts, designed to take you to your own “next level.” The main thought behind the book is that if a player can master the four basic strokes: FULL, DOWN, TAP, and UP STROKES, and learn to play 1, 2, 3, and 4 notes per hand in various combinations, then the tools are in place to be able to play anything. When a new rudiment is introduced, you will see a slow to fast breakdown to represent learning the rudiment at a VERY SLOW tempo first, then gradually working to a faster speed:

>

>

>

>

>

>

>

>

>

>

.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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

L

R

R

L

R

L

L

R L R R L R L L

R L R R L R L L

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

and a build up of the rudiment starting with what one hand plays by itself, illustrating the combinations of the Basic Strokes to be used (in this case down, tap, tap, up):

j> j > j> j > > > > > > > > 44 œ œ œ ≈ œ . œ œ œ ≈ œ . œ œ œ œ ≈ œ . œ œ œ œ ≈ œ . œ œ œ œ 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 R R L L L

R L

R R R L L L

R L

R L R R L R L L

R L

R L R R L R L L

R L

R L R R LR L R L L RL

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

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

I have also included the two main techniques that I use; an adaptation of the Moeller Stroke, and what I call the

Velocity Stroke. Each is broken down with very basic exercises to help master the technique. I recommend that you spend a fair amount of time on the technique portion of this book so you have a full understanding on how to apply those skills to the rest of the lessons. I can not stress how important it is for one to go through all the technique lessons in order to get the most out of this book. You might think that you are being asked to start over when you get to the first few lessons but that is okay. Just think: if you are already good, how much better could you be with a refresher course in the basics? I have made sure the book progresses in a logical way and each skill is covered in detail before moving on to the next. This being said, you can use this book in two ways: 1. Work from page one to the end. This is for the serious player (or teacher) who knows the benefit of perfecting a skill before moving on to the next one (this is how I recommend using the book). 2. Because each chapter progresses in difficulty, a student (or teacher) could touch on different sections of the chapters at the same time. For example: the beginning of Timing Control and the first few exercises in Diddle Control, or Flam Control and the Hybrids which are related. If you choose to work out of order, there are some concepts you may miss so refer back to earlier chapters if there is something you don’t understand. Any way you look at it, and any way you use it, this book is going to make you a better drummer so grab your pad and sticks and have fun!

INVEST ONLY IN WHAT YOU CAN AFFORD Make no promises that you cannot keep. Do what is asked of you. Keep your word. Tell the truth at all costs. Give 110% – always. Take the time to care. The job is a personal reflection of who performed it. Great performances are always appreciated. There are no excuses. Know your limits. The life is a reflection of the person living it. Be nice. Listen first. Be patient. Separate business and pleasure. Be careful. Have fun. Do not be afraid of failure. Do not be afraid of success. Action is turned into accomplishment.


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Acknowledgements I have to give a “laurel and hardy” thank you to the following people: Jim West for being my first teacher and putting up with my lack of practice, Gary Scoffield for getting me to try out for the marching band, Scott Johnson for being the first person I ever saw “really” play a snare drum, and Jim Dugan for giving an alternate a shot at the Bluecoats snare line in 1989. That is how I got started, now I have to thank all of the people that I met along the way: 1988: Jay Walker, Stan Schoonover 1989: Mark Tieofflo, Rob Mueller, Chris Watts and Trenton Priest 1990: Dave Dillulo, Mike Atasalp, John Whatley, Roger Carter, Mike Jackson, Jim Wunderlich, Todd Foster, Mike McIntosh, Pete Sapadin, Kevin Murphy, Mike French, Walter Powell and Paul Smieten 1991: Glen Crosby, Ed Barguiarena, and Ralph Hardimon 1992: Kevin Murray, Robert Chavira, Chip Webster, Murray Gusseck, Eric Amin, Mike Apodaca, Jon Weber, and Nick Angelis 1993: Paul Rennick, Tom Float, Robert Schitroma, Kevin Brubaker, Greg Seale, Don Click, Marc Dubois, Rick Rodriguez, Ben Maughmer, James Stienke 1994: Mike Borowski, Jeff Spanos, Paul Stivits, Derrick Logozzo 1995: Thom Hannum, Dean Shoyer, Kris Hartman, Stephen Crosby, David Bertman, Greg Hull 1996 and beyond: Bob Romano, Allen Joanis, Teddy Holcomb, Bill Bachman, Jeff Lee, Jim Mason, Donnie VanDoren, Jay Webb and anyone else who has helped me be a professional Snare Drummer. Special thanks to Kevin Brubaker, Mike McIntosh, Rosie Miller and Kate Tice for the editing help. Last but not least, I have to say the biggest thank you to Mark Wessels for his ability to see what was in my head and help me get this beast on paper (it only took 5 years of trips to Texas and hundreds of drafts passed back and forth). Thank you so much Mark. I couldn’t have done this without your input, vision and effort!

LAYOUT, DESIGN & PHOTOGRAPHY: MARK WESSELS


TABLE OF CONTENTS TECHNIQUE I.

GRIP FUNDAMENTALS .....................................................................7

II.

TECHNIQUE FUNDAMENTALS .....................................................12

III.

DEFINITIONS.....................................................................................14

IV.

BASIC STROKES ...............................................................................15

V.

THE ADAPTED MOELLER STROKE ..............................................16

VI.

THE VELOCITY STROKE ................................................................23

ONE HANDED WARMUPS and TWO HEIGHT CONTROL I.

ONE HEIGHT WARMUPS .................................................................31

II.

TWO HEIGHTS ..................................................................................33

III.

COMBINATION BEATS / MOTIONS ...............................................35

IV.

GRID I: MOVING ACCENTS ............................................................36

V.

CRESCENDOS AND DECRESCENDOS ..........................................38

V.

THE NEXT LEVEL.............................................................................39

TIMING CONTROL I.

TIMING CONCEPTS..........................................................................41

II.

16th NOTE TIMING ...........................................................................42

III.

TRIPLET TIMING ..............................................................................45

IV.

DUPLE / TRIPLE RELATIONSHIPS.................................................46

V.

16th NOTES IN TRIPLE TIME & 16th NOTE TRIPLETS ...............48

VI.

THE NEXT LEVEL.............................................................................49

DIDDLE CONTROL I.

DIDDLE QUALITY BUILDERS .......................................................57

II.

ROLL BUILDERS ...............................................................................60

III.

PARADIDDLES ..................................................................................62

IV.

GRID II: DIDDLE AND ROLL ISOLATION ....................................67

V.

DIDDLE INTERPRETATION ............................................................70

VI.

MORE PARADIDDLE PRACTICE ..................................................73

VII.

OTHER DRAG RUDIMENTS............................................................75

VIII.

THE NEXT LEVEL.............................................................................77


BUZZ CONTROL I.

BUZZ LENGTH ............................................................................................81

II.

BUZZ SPEED ................................................................................................82

III.

ONE HEIGHT BUZZ CONTROL.................................................................83

IV.

TWO HEIGHT BUZZ CONTROL................................................................84

V.

THE NEXT LEVEL .......................................................................................85

FLAM CONTROL I.

FLAM MOTIONS..........................................................................................87

II.

FLAM QUALITY ..........................................................................................88

III.

DOWNSTROKED MOTION RUDIMENTS ................................................92

IV.

CONTROLLED REBOUND MOTION RUDIMENTS................................94

V.

INVERTED MOTION RUDIMENTS .........................................................100

VI.

GRID III .......................................................................................................106

VII.

COMBINATION MOTIONS .......................................................................107

VIII.

THE NEXT LEVEL .....................................................................................110

HYBRIDS ......................................................................................................................115 BACKSTICKING AND TRICKS ............................................................................119 SPEED I.

THE PROCESS OF GETTING FASTER ....................................................123

II.

SINGLE SPEED ..........................................................................................125

III.

ROLL SPEED ..............................................................................................127

IV.

PARADIDDLE SPEED ...............................................................................129

SOLO CONSTRUCTION I.

COMPILING IDEAS AND SKILLS ...........................................................133

II.

IDENTIFYING STRENGTHS ....................................................................133

III.

FINDING A THEME ...................................................................................133

IV.

WRITING THE SOLO ................................................................................135

V.

PACING AND TRANSITIONS ...................................................................135

VI.

PREPARATION AND PERFORMANCE ...................................................136

“TRIBUTE”: A CHAMPIONSHIP RUDIMENTAL SOLO ...........................137


6

The Next Level


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TECHNIQUE If you’ve been playing the drum for any length of time, you probably want to skip right past this chapter of essential techniques and jump into the exercises. Trust me on this one... DON’T! Take some time to develop a solid understanding of the concepts that I detail through this chapter. By doing so, you will have a much better understanding for what I will refer to in the rest of the book! In this chapter, I will cover: I.

GRIP FUNDAMENTALS – The basics of establishing the correct grip.

II.

TECHNIQUE CONCEPTS – How to use the fingers, the height system, cushioning the rebound and tap hum.

III.

DEFINITIONS – Terms and concepts used throughout the book, including the “Grid” and “4-2-1”.

IV.

BASIC STROKES – The four basic strokes we use, regardless of the technique applied.

V.

THE ADAPTED MOELLER STROKE

VI.

THE VELOCITY STROKE

Be sure to read all of the text in this chapter and spend several weeks working through the exercises. Patient practice on these techniques will help you tremendously in establishing a solid foundation on which to build!

I. GRIP FUNDAMENTALS – THE FULCRUM First and foremost, I should define the fulcrum: ful·crum - n. 1. The point or support on which a lever pivots (in drumming, this would be the main point of pressure to the stick – where the stick pivots in the fingers). 2. An anatomical structure that acts as a hinge or a point of support. 3. An agent through which vital powers are exercised (This is where the bulk of the energy from the muscles will be used to put the stick to the head). In the right hand, the fulcrum lies between the thumb and index finger, forming a “T”.

In the left hand, the fulcrum is in the “V” or webbing of the hand between the thumb and index finger.


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GRIP FUNDAMENTALS: THE GRIP THE LEFT HAND TRADITIONAL GRIP 1. Start by relaxing your hand at your side.

2. Place the stick in “V” or webbing of the hand, between thumb and palm. Relax the fingers around the stick.

3. Turn at the elbow and place the stick about 1” from the head. Firm up the grip with no gaps in the fingers. The pad of the thumb is connected to the first knuckle of the index finger, forming a “T”. This is a secondary fulcrum and what I refer to as “the front of the grip”.

4. The middle finger is relaxed and on the stick, the index and ring finger are parallel. The stick is resting on the ring finger, between the cuticle and first knuckle. The pinky is relaxed with the same curve as the ring finger.

5. Notice that there are no gaps in the fingers. The thumb is in a straight line with the forearm and pointing at the elbow (the same angle as when the hand was at your side).


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THE RIGHT HAND GRIP 1. Start with your hand relaxed at your side.

2. Place the stick in your hand, holding it with the pinky and ring finger.

3. Bend at the elbow and place the stick about 1” from the head. Firm up your grip so there are no gaps in the fingers. The thumb is on the “side” of the stick at about a 45 degree angle and pointing at the bead. Notice the natural curvature to the wrist - it should be the same as when your hand was relaxed at your side.

STICK & HAND PLACEMENT With both sticks in the center of the head and in playing position (beads about 1” off the head), relax the shoulders and arms. The sticks should form a 90 degree angle (roughly). The horizontal angle of the sticks to the head should be -10 degrees. Keep the wrists and sticks about 1” above the head, 2” from the rim.

NOTICE:

• Right Hand – Thumb is at a 45 degree angle • Left Hand – palm slightly, open fingers relaxed

Notice there are no gaps in the fingers. Think of the stick as water: with your fingers closed and having no gaps, the stick could not “leak” out of your hand.


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FRONT AND BACK OF THE GRIP For the right hand, the “front of the grip” is the underside of the index finger. Consider this example of the thumb and index finger forming a rectangle around the stick: Even pressure is applied from the shorter sides (thumb and index), so an even distribution of energy is applied to top of the rectangle (the stick).

On the left hand, the front of the grip should be thought of as an equilateral triangle between the thumb (the left leg of the triangle), index finger (right leg of the triangle) and stick itself (base of the triangle). Even pressure should be applied from the top of the triangle (connection between thumb and index finger) to the legs of the triangle (thumb independently and index independently) so there is even distribution of energy applied to the base of the triangle (the stick).

The right hand “back of the grip” is the ring and pinky finger. The left hand back of the grip is about 85% index finger and 15% ring finger. This means that the index finger in the left hand is doing double duty for the front and back of the grip.

You may have noticed no mention of the middle finger on either hand. The middle finger is a multi-purpose finger, adding to whichever part of the grip that needs it, based on what is being played.


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TRADITIONAL GRIP: (almost) THE SAME AS MATCHED There are some differences between the two grips, however, there are many similarities that can help you become versatile in both grips. • The “T” fulcrum is the same in both grips. • The fulcrum of each grip is in the same spot on the stick. • The front of the grip is in the same spot.

Here are some characteristics that function the same but use different muscles: • Back of grip in RH is both ring and pinky finger while LH is mostly index (85%) and a little bit of the ring finger (15%). • Front of grip is mostly the same.

PATH OF THE STICK The pictures below show the arched path the stick should travel in.


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II. TECHNIQUE CONCEPTS USING THE FINGERS The fingers should COMPLIMENT what the wrists and forearms do. In normal playing, the fingers add support, helping to absorb the shock of a rebounded note or adding fullness to the sound via the pressure on the stick (we’ll get into how they “cushion the stick” to control the rebound on the next page). In soloistic settings or very fast passages, the fingers can act as a separate lever. Because the fingers have much smaller muscles than the wrists and arms, they have the ability to move much quicker.

HEIGHT SYSTEM I use a height system based on numbers. The degree markings you see are based upon the wrists being about 2” from the rim of the drum. I’ll refer to these heights throughout the book. Notice that the number does not always reflect the exact number of inches for each height! My system of defined heights breaks down as follows:

1 – pp; 1” off the head and very soft. Grace note height; -10 Degrees

3 – piano; 3” off the head and soft, standard tap height; 0 Degrees

9 – forte; 14” off the head and a comfortable wrist turn, standard accent height; 70 Degrees

6 – mezzoforte; 7” off the head and a medium loud volume; 30 Degrees

12 – fortissimo; Vertical stick heights, extended wrist turn; 90 Degrees

7 – one height rolls; about 10” off the head; 45 Degrees

15 – fff; Past vertical stick heights and the use of arm


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CUSHIONING THE STICK When you strike the head with a stick, it will want to rebound, or “bounce back” off the drum. In order to play with defined heights (especially in the case of accent/taps), you must absorb the rebound to keep the stick from bouncing back up. I absorb the energy of the natural rebound with a process I call “cushioning the stick”. Think of what it feels like to sit down on a large velvet couch. The way you feel when you get “absorbed” into the cushions is exactly the way you should think of your fingers absorbing the energy of the rebound. The fingers are always on the stick to aid with cushioning/absorbing the rebound – the same way the cushions on the couch are there to catch you. The more you cushion the stick, the lower the rebound will be. The less you cushion, the higher the stick will bounce. I will also refer to this as “allowing the stick to rebound to 3 inches” (or whatever the desired height might be). I also use the technique of cushioning the stick at the top of the rebound – although at the top of the rebound, the energy is absorbed with the whole hand, not just the fingers. The fingers stay relaxed, allowing the stick to resonate. This concept is very similar to the way you would bounce a basketball for the second or multiple times. I try not to refer to this action as “stopping the stick”. To me, “stopping the stick” means to put a “death grip” on the stick in order to keep it down – and this couldn’t be farther from the desired approach. The energy produced from the rebound can be utilized or absorbed (so you actually have to relax at the moment of impact), but if you “stop” the motion, you are “deflecting” the rebound. By “deflecting” the rebound, you are causing extra shock to your hands and the rest of your body (think of throwing a ball at a wall vs. throwing it into a net). By cushioning the stick, the fingers can absorb the energy to keep the stick down – or use the energy to allow the rebound to get the stick up again. To test this concept, try the following exercise. Play a full stroke at Level 12, then cushion the stick on the rebound with the back two fingers in the right hand and the index finger / ring finger in the left hand. Allow the stick to rebound to any height you desire by the adjusting the amount of cushion you use (more cushion = lower rebound; less cushion = higher rebound). q = 60-130 12 9 6 3 1

44 œ Œ œ Œ .. .. œ Œ œ Œ .. .. œ Œ œ Œ .. .. œ Œ œ Œ .. .. œ Œ œ Œ .. R L

All strokes start at Level 12 and rebound to the height indicated above the measure.

SOUND PRODUCTION: QUALITY AND CONSISTENCY There are 4 major factors that contribute to sound production on a drum: 1. Height of stroke 2. Speed of stroke 3. Pressure in the grip 4. The bead’s angle of impact to the head The main goal for any rudimental drummer should be to produce as consistent a sound as possible – all your taps sound the same, all your accents sound the same, your rolls, flams, etc.– all should have a consistent sound. In order to achieve the same sound on all “like” notes, your sticks should be moving at the same rate of speed for each note, rising to the same height as the other, the pressure in the grip should be the same in both hands, and the placement and angle of the bead striking the head should be the same on both sticks.

TAP HUM Every surface you play on has a resonance to it (a drum, coffee table, bleachers, gym floor, pad, etc.). That resonance has two parts: pitch and note length. The tap hum refers to the combined underlying pitch of the surface and the sticks resonating at equal lengths for each note that is played. Assuming that you are playing with a perfectly matched pair of sticks or mallets, a consistent tap hum can be established by playing strokes that have equal intensity, are played in time, with the same pressure in the grip. If you are allowing the drum (or surface) to resonate equally for each note – allowing the sticks to rebound and have equal resonance to them – you should hear a “drone” of the same pitch underneath what you are playing.


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Pick a practice surface and play 16th notes on one hand. If you do not change the speed of the stroke, the height of the stroke, and the pressure in the grip, you should easily hear the “tap hum” that I refer to. If you play alternating 16th notes, you might find yourself having to adjust one hand or the other to establish that same consistent “hum” (this is why that I stress having a perfectly matched pair of sticks)!

III. DEFINITIONS THE GRID The concept of “the grid” is apparent in books as early as Ted Reed’s Syncopation. In the first exercises, rests are moved through the bar to practice quarter notes in every part of the measure. “The Grid” follows this concept by taking any rhythm pattern or rudimental figure and embellishing it with an accent, diddle, flam, etc., and then applying a mathematical progression of moving it through the beat (or subdivision of the beat). You can easily find “gridded” exercises throughout the TIMING CONTROL, DIDDLE CONTROL and FLAM CONTROL chapters of this book. A huge “thank you” to Tom Float for bringing this concept to the mainstream of rudimental drumming.

4-2-1 4-2-1 is a further mathematical application of the grid. Simply put, you can apply the “4-2-1 concept” to any rhythm pattern or rudimental figure by playing 4 counts of each successive variation, then 2 counts, then 1. Generally, you’ll benefit by applying “4-2-1” to any figure you practice by: 1. Establishing repetitious hand motion to a single pattern before switching to the next pattern (4’s and 2’s). 2. Learning to switch patterns consecutively, without a break between (1’s).

OTHER DEFINITIONS STACCATO: Cut short crisply; detached. Marked by abrupt, disconnected sounds. STACCATO MOTION: Crisp and abrupt STACCATO SOUND: Short and angled; sharp. LEGATO: In a smooth, even style without any noticeable break between the notes. LEGATO MOTION: Long and fluid LEGATO SOUND: Round and long ANGLED RHYTHMS: Generally referring to 16th patterns and how they should fit precisely within their subdivisions, as well as the desired articulation for the rhythm (working towards a staccato sound, without being tense). ROUNDED RHYTHMS: Generally refers to triplet patterns and the desired articulation for the rhythm (working towards achieving a legato sound). FOLLOW THE STICK: Refers to relaxing the muscles and allowing the hand to be moved by the force of the rebound of the stick. DOWNSTROKED MOTION: Where the stick stays down after the accent. INVERTED MOTION: Moving from low to high. CONTROLLED REBOUND MOTION: A controlled decrescendo. The stick covers multiple heights on its way down.


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IV. BASIC STROKES Before we delve into The Adapted Moeller Stroke or the Velocity Stroke, I feel it necessary to define the four basic strokes that are used at some point or another, regardless of the technique used to play. These strokes are used across the board but some more or less, depending on the specific technique. The four basic strokes we use as percussionists are: FULL STROKE – A note that starts in the “up” position (level 12) and ends in the “up” position. I also call this an “8 on a Hand Stroke” or “Rebounded Stroke”. This stroke should sound the same as a downstroke, but rebound back up. DOWNSTROKE – This is a note that starts in the “up” position (level 12) and ends down (level 3) by cushioning the stick. Use this stroke to play two height passages or accent to tap heights. This stroke should sound the same as a Full Stroke, but stay down. TAP STROKE – This is basically a low full stroke, used for playing taps or lower heighted notes. This stroke starts and ends at level 3 and should sound the same as an up stroke, but stay low. UP STROKE – This is a note that starts “down” (level 3) and ends “up” (level 12). Basically, we will use an upstroke to get from a tap back to accent height. This stroke should sound the same as a tap, but return to the “up” position. Joe Morello had a great way of describing these strokes. He used an exercise which he called “Loud Loud, Soft Soft.” This being that the loud notes are the Full Strokes and Downstrokes and the soft notes are the Taps and Upstrokes. Try this now, remember to start in the “up” position (level 12).

44 ˙

Full stroke (Loud)

˙

R

Full stroke (Loud)

Tap (Soft)

Downstroke(Loud)

˙

˙

Upstroke (Soft)

.. .. ˙

Tap (Soft)

˙

L

˙

Downstroke(Loud)

˙

Upstroke (Soft)

..

NOTE: The upstroke on count 3 of the second bar sets you up for the following full stroke. Now let’s put both hands together for the Morello exercise of four loud notes and four soft notes repeated, you can think of this as “Loud Loud Loud Loud, Soft Soft Soft Soft”.:

44 œ

Loud

Loud

œ

R

L

Full strokes

Loud

Loud

Soft

Soft

Soft

Soft

œ

œ

œ

œ

œ

œ

R

L

Downstrokes

R

L

Taps

R

L

Upstrokes

..

NOTE: Following an upstroke, stay in the up position as you are set up for a full stroke. While playing either of the above exercises, make sure that all your loud notes (Full and Downstrokes) have the same sound, volume and timbre; and that all your soft notes (taps and upstrokes) have the same sound, volume and timbre.

BE VERY PARTICULAR ABOUT HOW YOU SOUND!!! As you get into the rest of the technique portion of the book, these strokes will be referenced and you will see how they are used for each specific technique.


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V. THE (ADAPTED) MOELLER STROKE The Moeller Stroke (or Moeller Method) was invented by Sanford “Gus” Moeller during the early 1900’s. Gus Moeller not only pioneered the technique, but his teaching methods brought it to the mainstream for rudimental and drumset players alike. The way I am going to break down the approach is slightly adapted from what Moeller would have actually taught. This “adaptation” has all of the same fundamentals, but is more suited to today’s “drum corps” style of playing, as well as the equipment that is commonly used (high tensioned heads, etc.). The Moeller stroke, as I will describe it in this adapted approach, is primarily a two-height technique used for playing notes “low to high” (whip/inverted motion) or “high to low” (controlled rebound). The concept behind the Moeller Stroke is one motion for multiple sounds. This is achieved through a “whipping motion” that starts at the elbow and finishes with the bead of the stick striking the head (similar to snapping a towel). This one burst of energy can be used to create numerous sounds, making Moeller a very efficient way to play. Moeller is great for playing fast two height passages, or playing multiple notes at varying heights (as in advanced flam passages). I generally refer to Moeller as a “motion that creates a sound.” In that, I mean that this technique of playing the drum will produce a specific type of sound. I’ll discuss the sound produced by each stroke of the Moeller technique later in the chapter. Many drum set players today use the Moeller Method because it aids in fluidity and speed, while at the same time produces a much more “human” sound and feel. The subtle inconsistencies in sound and feel in the Moeller Method are the same reasons you will not see many drum lines using the large motion Moeller approach. However, the use of the “whip concept” is necessary for today’s rudimental drummers to achieve faster tempos, especially when going from a “low to high” stick height in rudiments such as Inverted Flam Taps, Flamacues, and Patti Fla Fla’s (chu-chuddas).

LEARNING THE WHIP MOTION / EXERCISES WITHOUT THE STICKS Before we get into the fast tempo uses of the Moeller stroke, you need to learn (and perfect) the large whip motion on which the entire stroke is based. I can not stress how important it is to learn this large motion first without the sticks!

RIGHT HAND

1. Sit in a chair with hands flat on your thighs, palm down.

2. Drag your hand along your leg, lifting from the elbow, stop when elbow is at a right angle.

3. Turn and drop the elbow, while lifting the forearm until palm is flat to the sky.

4. Pivot at the elbow and drop you hand to your leg.


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LEFT HAND The left hand Moeller Stroke will function pretty much the same as the right – however, keep your fulcrum (thumb and index finger) attached as you go through the motion. This makes the downstroke (or slap) a “karate chop” as you hit with the side of your hand.

Always remember that the elbow starts the motion, followed by the forearm, then the wrist (whip motion).

WALL EXERCISE This exercise demonstrates the correct path and movement of the wrist and arm. Stay VERY relaxed and keep your hand touching the wall at all times.

NOTICE THE RELAXED MOTION AND BEND TO THE ARM, WRIST, HAND AND FINGERS AS THEY MOVE UP AND DOWN THE WALL

PRACTICE TIP: I recommend spending a least one full week of practice time devoted to learning the motion alone! Yes… without the sticks. Yes… for a full week (at least 10 hours). Yes… this is the only way to truly learn the stroke properly.


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ADAPTED MOELLER – ESTABLISHING THE GRIP It’s important to note that the grip that you’ll use when playing the Moeller Stroke is a little different than what you’ll use for the basic technique. Here is a breakdown of how I approach the grip for the Moeller Technique:

LEFT HAND 1. The fingers are long and relaxed along the stick.

2. Tip of thumb connects to first knuckle forming the “T” fulcrum. 3. The wrist is flush with the forearm. 4. The ring finger and index finger are parallel. 5. The middle finger is relaxed on the stick.

RIGHT HAND

1. The thumb is on the side of the stick and the back of the hand is flat to the sky.

2. There is a straight line from the middle finger to the elbow, making the hand “centered” on the wrist.

BOTH HANDS TOGETHER The angle formed by the sticks should be about 110-degrees, and the sticks should be flat to the drum.

THE FRONT AND BACK OF THE GRIP For left hand Moeller, the thumb is considered the “primary” part of the front of the grip (with the index being about 15%). The right hand and back of the grip in the left hand are exactly the same as the basic technique.

3. The thumb and index finger form the “T” fulcrum just as in the basic technique.


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COMPONENTS OF THE MOELLER STROKE The Moeller Stroke consists of these major components: 1. Elbow lift (pullout/upstroke motion) – leads with the butt of the stick. 2. Elbow turn / coil for the whip. 3. Putting the stick to the head (downstroke). While each of these components are learned individually, we’ll eventually “slur” all three motions into one. If you haven’t already done so, practice the EXERCISES WITHOUT THE STICKS, presented earlier in this chapter (page 10). This motion is transferred into these types of strokes/notes (and how I will refer to them from here on out): •

Downstroke (the motion of the hand slap).

Taps / Flyback Notes / Rebounded Notes (notes that happen after hitting the drum).

Upstroke / Pull-out Notes (notes that happen as a result of starting the motion by allowing the stick to hit the head.

RIGHT HAND MOTION

1. Start with the stick in the playing position.

2. Drag the stick along the head, leading from the elbow, until it is dangling off the head.

3. Turn from the elbow, letting the stick flop back (elbow at almost a 90 degree angle).

4. Turning from the elbow, hit the drum, allowing the stick to “fly back” completely.

2. Lead with the elbow; drag the stick across the head. Right angle with left elbow.

3. Turn / drop the elbow, bringing the hand and stick up in a whipping motion.

4. Turn the elbow, hit the drum, allowing the stick to “fly back” completely.

LEFT HAND MOTION

1. Start with the stick in the playing position.


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ONE NOTE MOELLER PRACTICE (ONE MOTION, ONE SOUND) Use this next exercise for practicing the single note Moeller described on the previous page. START AT THE SLOWEST TEMPO MARKED and perfect the motion of the large Moeller stroke before you speed up! Keep in mind that the components of the stroke (drag, elbow turn, downstroke, rebound/rest) happen on each individual count, so work with a metronome! Use the pictures on the previous page as your guide.

q = 60-100

44 Œ

Drag

Œ

Elbow Turn

R L

Downstroke

œ

Œ

Œ

Rebound/rest

Œ

Œ

œ

..

AS YOU WORK ON THIS EXERCISE: • The Moeller stroke ALWAYS starts with the stick in the set or “down” position. •

Allow the stick to rebound (or “fly-back”) completely on each downstroke, then bring the stick back to the “set” or rest position before starting the motion again.

• After establishing a completely relaxed fly-back note, experiment with cushioning the stick with your back fingers to control the height of the rebound (see “CUSHIONING THE STICK” on page 13). More pressure = lower rebound, less pressure = higher rebound. As you speed up the tempo or to play lower accent heights, the motion of the Moeller stroke becomes smaller: Large Moeller - Over the head style playing, the same as the breakdown on the previous page. Full Moeller - Level 12 "ish" accent heights where the whip comes from the elbow but is smaller than the large motion. Half Moeller - Level 9 "ish" accent heights where the whip is primarily forearm and wrist (slight elbow motion). Low Moeller - Level 6 and below accent heights where the whip is just a slight forearm motion leading to the wrist (almost no elbow motion).

Use this next exercise for practicing same height notes. All strokes are full Moeller, with one motion (whip) per sound. Allow the stick to rebound completely.

q = 60-100

44 ˙

R L

˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

Just a hint on how long it takes to REALLY get these motions comfortable and feel like second nature: When I first learned the Moeller stroke, I spent about a week on the motions without the sticks, then about a week EACH on the Large, Full, and Half Moeller with the sticks. ONLY THEN I was allowed to move on! TIP - “One Heighted” patterns such as the one above will be played using repeated strokes of the “One Note Moeller”, allowing the flyback notes as much height as possible, then starting the complete motion all over again. The height of the note will depend on how much arm / whip motion is used.


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2 NOTE MOELLER PRACTICE (ONE MOTION, TWO SOUNDS) As I mentioned before, the benefit of the Moeller Stroke is that you can get multiple sounds from one motion. In this section, you’ll learn to get a second sound from the upstroke motion that happens at the beginning of the Moeller stroke. In the following exercise, play each accent with a full Moeller Stroke. Allow the stick to fully rebound and come to rest about 2” above the head, then start the upstroke motion on count 2. In measures 3 & 4, you’ll add the second sound between the accents. This sound (or tap) should be played as a result of the upstroke, not as a separate motion! Because you’re only using one motion, you’re now able to get multiple sounds. M.M.= 60-130.

>

Downstroke

44 œ

R L

Œ

>

Downstroke

œ

Upstroke

>

>

Downstroke

Downstroke

Œ

Upstroke

œ

œ

Upstroke

œ

œ

Upstroke

In the next exercise, start with full strokes in the first measure, then begin to “pulse” the downbeats (m.2) by lowering the tap slightly. The heights of the taps in measures 3–5 are defined by that amount of cushioning that you apply to the rebound of the downstroke. As the taps get softer in measures 3–5 (as defined by the heights), the whip motion should get larger. Think of “slurring” from 2 distinct motions on each beat in measure 1 to one motion for two sounds by measure 5. When you reach the final measure, work to DEFINE the two heights (by “define”, I mean “make them consistent”). M.M.= 60-130

> > > >

12/11

12/12

> > > >

> > > >

12/9

> > > >

12/6

12/3

44 œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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 L

Apply the same concept to the next exercise, but work from the tap up. Remember! As the accents get bigger, the whip motion gets bigger. M.M.= 60=130

> > > >

3/3

4/3

> > > >

> > > >

6/3

> > > >

12/3

9/3

4 œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. 4 R L

3 NOTE MOELLER PRACTICE (ONE MOTION, THREE SOUNDS) Now you’ll learn to produce a second sound between the downstroke and upstroke motions that you learned in the 2 note Moeller. The second stroke of the 3 note Moeller is produced by using your back fingers to CUSHION the stick on the flyback motion – similar to what you would do when playing a slow, controlled bounce. The amount of cushion that you use will determine the height of this second note. Use this exercise to isolate the downstroke and the “cushion stroke”. Again, the second sound is produced from the one motion of the downstroke, not from a second motion. In measure 3, the third sound is played as a result of the upstroke motion – just as you did in the 2 note Moeller. M.M.= 100-160

>

Downstroke

43 œ

R L

œ

Cushion

Œ

Upstroke

>

œ

R L

œ

Œ

>

Downstroke

.. .. œ

Upstroke

œ

Cushion

œ

>

œ

Remember: One motion, three sounds – NOT 3 separate motions!

œ

œ

..


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22

As you practice this next exercise, think of the 3 sounds as being a “controlled decrescendo” of sorts. As you play, begin to adjust the pressure in the fingers and amount of cushion to control the height of the second note. M.M.=80-120

>

44 .. œ

>

Upstroke

Downstroke

œ

Cushion

œ

œ

œ

>

œ

œ

œ

œ

>

œ

œ

œ

..

Next, we’ll use the same “pulsating approach” that we used in the 2 note Moeller to develop control over the amount of elbow motion that you’ll use on the accents. Start with full strokes, then begin to pulse the downbeats by lowering the 2nd & 3rd sounds (elbow motion gets bigger as taps get softer). In the final measure, work to totally defined heights (accents at 12, taps at 3). Remember: ONE motion for THREE sounds. M.M.=60-100

> > > >

12/12

12/11

> > > >

12/9

> > > >

12/6

> > > > 12/3

12 8 œ œœœœœœœœœœœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. R L

Same as above, but starting from tap heights and building up. M.M.=60-100

> > > >

3/3

4/3

> > > >

6/3

> > > >

9/3

> > > >

12/3

12 8 œ œœœœœœœœœœœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. R L

MOELLER TECHNIQUE – SUMMARY THE MOELLER TECHNIQUE One motion used to create multiple sounds Always begins in the set, or “down” position Leads from the elbow Arm, wrist & stick follow in a whipping motion A few final thoughts: Because you’re able to achieve multiple sounds from one motion, the Moeller Stroke is a very efficient use of energy. Remember though, the consistency of sound from note to note may be a bit different, depending on how much of the bead of the stick touches the head on the upstroke, how much arm motion is involved and how much cushioning is done with the back fingers on the taps. Only through dedicated practice will you be able to develop control over each of these variables. Also remember that Moeller is primarily used for TWO HEIGHT applications. Because you are using one motion for multiple sounds, you WILL hear a difference in sound between the downstroke, tap and upstroke, even if this difference is very slight. The amount of height difference between the accents and taps is controlled by the amount of arm motion that is used for the downstrokes (more arm/elbow motion = higher accents) and the amount of cushioning that is applied on the taps (more cushioning = lower taps). In the “TWO HEIGHT” chapter, I will go into much more detail with the Moeller and Velocity techniques, and how to blend the two techniques together. I can’t stress enough how important it is to completely master each Moeller exercise I’ve described in the previous pages before you move on to the next chapter! At the MINIMUM, you should spend at least a week on each exercise. If you don't learn it now, any amount of effort that you expend through the rest of this book will be wasted!


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VI. THE VELOCITY STROKE The Velocity Stroke is very similar to “Stone Strokes,” which were developed by George Lawrence Stone in the early 1920’s and 30’s. Stone wrote two very famous books titled Stick Control and Accents and Rebounds, both important manuals for advancing your drumming skills. The Velocity Stroke was brought to the mainstream of modern drum corps by Thom Hannum in the late 1980’s and early 1990’s. Similar concepts to this technique are discussed in Thom’s book, Championship Concepts for Marching Percussion, available through Hal Leonard Corporation.

Whereas the Moeller Technique is a “motion that creates a sound”, the Velocity Stroke is a “sound to create a motion”. Consider this: There is an optimum quality of sound that you can achieve on any instrument. As this relates to the marching snare drum (deeper shell, tighter heads, primarily used outdoors), I am referring to maximum tone and volume of the drum, without distortion, along with achieving maximum snare response. If you are striving for this optimum quality of sound from a marching drum, the Velocity Stroke is the motion I recommend to achieve it.

LEARNING THE MOTION How you bounce a basketball or tennis ball is the same way you should approach the Velocity Stroke. Consider holding a ball over your head and dropping it to the ground. When the ball hits the ground, it will bounce about 2/3rds of the way back up. The only resistance to the ball is the ground (which forced the ball to rebound or bounce) and gravity (keeping it from returning to its original starting point). There is no human force acting on the ball to prevent it from returning to its original starting point. In order to get the ball to bounce back up to your hand, you have to put some force (velocity) behind the initial “throw”. Think about it: as you dribble a basketball, you're not simply dropping the ball on each stroke – you’re pushing it downward with the amount of energy that’s necessary to get it to rebound to the same height. The same concept will be applied to the stick on the Velocity Stroke. To play a Velocity Stroke, you’ll need to put some energy (speed, velocity) behind the initial “throw” – pushing from the wrist and front of the grip. As soon as you throw the stick, relax the muscles so the stick can return to its starting point (without the hand or fingers getting in the way), then “cushion” the stick at the top of the stroke. A “full” sound is then created because you are putting enough energy behind the stick to push the maximum amount of air through the drum, activating the maximum amount of resonance from the shell and maximizing the amount of snare response. By relaxing the muscles at the point of impact, you’re allowing the stick and the drum head to fully resonate, creating an “open” sound. NOTE: There is a sharp burst of energy you’ll use to “push” the stick to the head, but then realize that the muscles should totally relax after the initial push. This relaxation will allow the hand to “follow” the stick in its return to the starting point. The motion that is created should look very sharp and short (staccato), which is directly contrasting to the sound, which should be very full and open. On the next page, we’ll work on a few exercises without the sticks to develop an understanding of the Velocity Stroke.


24

The Next Level

VELOCITY STROKES – WITHOUT THE STICKS Since “Velocity” is a very wrist and muscle intensive stroke, it is important to know which muscles will be used in each hand.

RIGHT HAND Lay your hand flat on the drum and pretend to “knock” loudly on the drum. The forearm should be flat on the drum and the wrist turning the hand in the knocking motion. Try this for 1 minute! You should eventually feel your forearm and wrist muscles getting tired. These are the same muscles that you will use to execute the Velocity Stroke.

LEFT HAND With the hand totally open and extended, palm up to the sky, slap the drum with your thumb. Keep the arm still, turning the wrist 180 degrees, while staying relaxed. Do this for 1 minute! Eventually, you’ll feel your forearm and wrist muscles getting a little tired. These are the same muscles that you will use to execute the left hand Velocity Stroke.

ESTABLISHING THE GRIP AND HAND POSITION Compared to the basic technique, the grip for the Velocity Stroke is similar except for: 1. The thumb on the right hand is on the side of the stick, with the back of the hand flat. 2. The left hand fingers are slightly more compact. 3. Angle of the sticks is acute (less than 90º). The left hand grip is more “compact” for this approach when compared to the Basic Technique and much more than the Moeller Stroke. By having the fingers a bit closer to the fulcrum, I find that it is easier to accept the rebound and stay relaxed. By keeping this straight line from your thumb to your elbow, you allow the wrist to be centered on its axis and get the most rotation and a fuller sound. The right hand is more “turned in” than in the basic technique (and much more than Moeller) to activate the front of the grip and promote wrist turn.


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PRODUCING THE VELOCITY STROKE The Velocity Stroke consists of four major components: • Playing from the front of the grip (index thumb and middle finger on the RH; mostly thumb in the left). • A solid wrist turn (on the axis). • Creating – as well as using – a maximum rebound. • Moving the stick at maximum velocity, regardless of height. Those components transfer into these strokes / notes / beats: • Full Stroke / Accent (full wrist turn). • Rebounded Notes (notes following a full stroke that are rebounded higher than 3). • Taps (notes that are cushioned to stay at 3). REFER BACK TO THE BASIC STROKE ON PAGE 15 AS THE TWO CONCEPTS ARE VERY SIMILAR. To give you a good idea of how quickly to move the stick for the Velocity Stroke, consider this example (thanks to Mike McIntosh for his input on this exercise):

Ú 100 3 3 3 3 44 œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ

œ

If you played 8th note triplets at the metronome marking I've notated, there is a specific speed that the stick is traveling, and a specific velocity that you’d use to keep the strokes fluid. When you get to the quarter notes, rather than adjust the velocity and speed for a new note value, simply keep it the same. Because you’re pushing the stick towards the head (and not inhibiting its rebound), it will bounce back up quickly – therefore, you’ll have a slight “pause” at the top of the stroke (where you cushion the stick) before you push it back down again. There is no extraneous pressure on the fingers, nor wasted energy when going from one measure to the next.

ONE HEIGHT VELOCITY – STICK DRIBBLE The next exercise is a way to ensure that you are moving the stick correctly for the Velocity Stroke. Start with playing full strokes with just the front of the grip (measure 1). Turn the wrist, engaging the muscles from above; then one by one, add the fingers to the stick. During the whole process, the path of the stick and the rebound should remain the same. The stick should be allowed to rebound to its starting point regardless of how many fingers are on the stick. Keep your eye on the bead of the stick for the entire exercise. You should see the bead pause for a brief second at the top of the stroke just as you are about to put the stick back to the head (as in the previous example). If you see the bead pause or stop at the bottom of the stroke (right after impact to the head), this means that you are not allowing the stick to fully rebound. Remember to completely relax the hand after the initial “throw”.

RIGHT HAND: Start in the first measure by holding on to the stick with just the index and thumb. Add one finger at a time (measures 2–4), then slowly close down the grip to allow the stick to touch the palm of the hand (measure 5). Make sure that the motion and rebound of the stick remains the same throughout, and that the hand “follows” the stick on each rebound.

q = 60-130

Thumb and index

Thumb, index, middle

Thumb, index, middle, ring

All fingers, hand open

Slowly close hand

44 œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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


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LEFT HAND Start with the stick in the “V” of the hand, fingers relaxed and extended. Add fingers in this order: index finger/thumb connection, Rest middle finger on the stick, place ring and pinky under the stick. The motion and rebound of the stick remain the same the entire time and hand should “follow” the stick on the rebound. M.M. = 60=130 Thumb index connection

Thumb only

Rest middle finger on stick

Place ring and pinky underneath

44 œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. L

REPEAT THE ABOVE EXERCISES FOR EVERY HEIGHT AND DYNAMIC LEVEL. Remember the muscles that were used without the sticks, work to engage the same muscles.

FULL VELOCITY STROKE – 1 BEAT PRACTICE Velocity Strokes can be thought of as a combination of “beats.” Since all notes and sounds are played with the same approach, think of rudiments being a system of either single, double, triple, or more “beats” per hand. CONSIDER THE VELOCITY STROKE AN APPROACH THAT STARTS FROM THE “UP” POSITION – JUST AS YOU WOULD WHEN DRIBBLING A BASKETBALL.

q = 100-208

44 Œ œ Œ œ Œ œ Œ œ .. .. Œ œ Œ œ Œ œ Œ œ .. .. Œ œ Œ œ Œ œ Œ œ .. .. Œ œ Œ œ Œ œ Œ œ .. 9

12

3

6

R L

2. Without lifting or prepping, use enough energy to push the stick to the head to have it return quickly.

1. Start with the stick in the up position at level 12, 9, 6, or 3.

3. Allow the sick to rebound back to its starting point.

A good way to tell if you are stopping the stick is to focus on the first 6” off the head. If you can see the bead of the stick for even a split second, your fingers are getting in the way of the natural rebound. If you cannot see the bead, the stick has moved fluidly back to its starting point. MASTER THE VELOCITY STROKE AT EVERY HEIGHT! I recommend spending a least one full week of practice time devoted to learning the motion alone. Yes, for a full week (at least 10 hours) on 2 exercises (single beat & stick dribble). This is the only way to truly learn the stroke properly.

DOUBLE BEAT VELOCITY

44 œ

R L

œ

Œ

Œ

œ

œ

q = 130-208

Œ

Œ

œ

œ

Œ

Œ

œ

œ

Œ

Œ

• Play full strokes for both notes (both notes should sound exactly the same). • Allow the stick to rebound to the height it started (but not past) for both notes. • Move stick as fast as possible into the head, cushioning it at the top of the rebound. • The stick should “pause” slightly at the top of the stroke. Push it back into the head for the second. Spend a week working on just double beats. Yes, a full week just on double beats – at every dynamic level. You said you wanted to be good when you started this book, didn’t you? Sorry – there are no short-cuts!


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27

TRIPLE BEAT VELOCITY

44 œ

R L

œ

œ

Œ

œ

œ

q = 130-208

œ

Œ

œ

œ

œ

Œ

œ

œ

œ

Œ

Same as above, but this time playing 3 notes of equal intensity. You guessed it... I would spend a week on this one, too.

TWO HEIGHT VELOCITY It’s important to realize that nothing changes in the motion and speed of the Velocity Stroke – whether you’re playing accents at 12 or taps at 3. In the previous exercises, you’ve developed the ability to play Velocity Strokes at each dynamic level with the same energy (the height of the stick dictates the dynamic level). In a two height situation, you’re essentially using the same technique for every stroke – just at two different heights. That being said, you’ll probably also realize that a Velocity Stroke played at 3 would never “rebound” to 12 unless you played it with 4 times the energy. That’s not the point of the Velocity Stroke! The point is to make all the velocities the same, whether you’re playing at 12 or 3. So, in order to “get the stick back up” to level 12 in preparation for another accent stroke, you’ll need to lift the hand and stick, a motion similar to the upstroke. What is important to realize is that this upstroke is NOT the same as an upstroke using the Moeller technique (where the stick hits the head in reaction to the upstroke). Instead, concentrate on the DOWNWARD MOTION of the tap, then naturally let the hand “follow the stick” back up – with a very relaxed wrist motion (don’t worry too much about where the energy of the stick stops and the hand takes over. Just let the stick and the hand “do their thing”)! In the next exercise, play a level 12 Velocity Stroke, cushioning the stick to 3. On counts 2 – 4, play three Velocity Strokes at level 3, and simply lift the hand after the third stroke. EVERY VELOCITY STROKE PLAYED AT LEVEL 3 SHOULD LOOK AND SOUND THE SAME! Watch your hand on each of the strokes to make sure that you’re using the same DOWNWARD MOTION on count 4 (the upstroke) as you are on counts 2 and 3. Remember, you should RELAX the hand after the initial “throw”, allowing the stick to rebound off the head naturally. The upward motion on the final tap SHOULD BE FLUID AND RELAXED. M.M. = 80-208

>

12

44 œ

R L

3

3

3

œ

œ

œ

>

œ

œ

œ

œ

2 NOTE GROUPINGS (one high beat, one low beat) • Level 12 Velocity Stroke for the accented notes. • Back fingers cushion the stick and rebound to Level 3. •

Play a Level 3 Velocity Stroke for unaccented notes in measure 3 & 4.

• After playing the tap, allow the hand to “follow the stick” back to accent height. REMEMBER: Keep the same pressure in the hand on every stroke – keep the same speed/velocity on every stroke, regardless of height.

>

44 œ

R L

Œ

>

œ

Œ

>

œ

Œ

>

œ

Œ

>

œ

œ

>

œ

œ

>

œ

œ

>

œ

œ


The Next Level

28

The next two exercises should be thought of as “refined full strokes.” Again, the approach for every note is the same, just from different heights. M.M. = 60-130 • Start with a Full Velocity Stroke at Level 12. • Slowly define the taps by absorbing the rebound/cushioning the stick just after impact. • Same velocity for all strokes, regardless of height. • REMEMBER: every note is being played the same way, from either a higher or lower point to the drum!

> > > >

> > > >

12/11

12/12

> > > >

12/9

> > > > 12/3

12/6

44 œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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 L

Now, same as above but starting with taps and increasing the accent height. M.M. = 60-130

> > > >

3/3

> > > >

4/3

> > > >

6/3

> > > >

12/3

9/3

44 œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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 L

THREE NOTE GROUPINGS (one high beat, 2 low beats) Playing the Velocity Stroke in 3 note groupings is EXACTLY the same as you did in the 2 note groupings above – each stroke, no matter the height, is played with the same velocity. M.M. = 80-208 • Use a full stroke for the accent. • Cushion the stick / allow the stick to rebound to 3. • Play at Level 3 Velocity Stroke on beat three and allow the stick to rebound to accent height (m. 3 & 4). • In measure 5 & 6, add a Level 3 Velocity Stroke on beat two: Start at 3 and rebound to 3.

>

43 œ Œ Œ R L

>

œ

Œ Œ

>

œ

Œ œ

>

œ

>

Œ œ

œ

œ

œ

>

œ

œ

œ

Again, the next two exercises should be thought of as “refined full strokes.” The approach for every note is the same, just from different heights. M.M. = 60-100 • Start with full Velocity Strokes at Level 12. • Slowly define the taps by absorbing the rebound/cushioning the stick just after impact. • Full strokes for each note, regardless of height. 12/12

> > > >

12/11

> > > >

12/9

> > > >

12/6

> > > >

12/3

12 8 œ œœœœœœœœœœœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœ œ œœ œ œ œ œ œœ .. R L

Same as above but starting with the taps and defining the accent height. 3/3

> > > >

4/3

> > > > 6/3

> > > > 9/3

> > > >

12/3

12 8 œ œœœœœœœœœœœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœœ œœœ œœœ œœ .. .. œ œœ œ œœ œ œ œ œ œœ .. R L


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29

MOELLER AND VELOCITY: The Differences A few good ways to distinguish the two techniques: Moeller: Back fingers; the arm is the primary muscle group (lever). Velocity: Front of grip; the wrist is the primary muscle group (lever). Moeller: Whip. Velocity: Bouncing a ball. Moeller: Starts in the down or “set” position. Velocity: Starts in the up position. Moeller: One motion for multiple sounds, a very efficient technique. Velocity: Individual motion for individual sound, very muscle intensive technique.

COMBINING THE TECHNIQUES The way I play now is a combination of many years of study with both Moeller and Velocity. I use a combination of wrist and arm – probably about 80 percent wrist and 20 percent arm. When I use my arms, Moeller is the primary technique. When I use the wrist, Velocity is the primary technique. For example: On roll passages and one height diddle patterns, I use Velocity. For dense flam passages and things that require many different heights, I use Moeller. Regardless of which technique I employ at any time, my focus is ALWAYS on quality and consistency of sound as it relates to the music I am playing. In the next chapter, I will go into much more detail with Moeller and Velocity techniques and how to blend them together to make the most efficient use of your energy, while producing the most optimum sound for the marching snare drum.


30

The Next Level


The Next Level

31

ONE HANDED WARM-UPS and TWO-HEIGHT CONTROL Now that you have general understanding of the Moeller and Velocity techniques, it is time to explore the specifics of each technique as it relates to sound production and two-height definition and control. This chapter covers: I.

ONE HEIGHT WARMUPS – This includes 8 on a Hand, Double and Triple Beats etc. Master each of these exercises at every dynamic level.

II.

TWO HEIGHTS – Many exercises that work on playing accent to tap heights.

III.

COMBINATION BEATS AND MOTIONS – Putting many of the concepts learned so far together.

IV.

GRID I.

V.

MULTIPLE ACCENTS AND MULTIPLE HEIGHTS – Including crescendos and decrescendos.

VI.

THE NEXT LEVEL – Applying all of the concepts learned in the chapter. Pay close attention to these explanations! The fundamental concepts that you learn here will come back again and again in later chapters.

I. ONE HEIGHT WARM-UPS These exercises should be played at one height the entire time... HOWEVER, be sure to master each one at every “one” height (3, 6, 9, 12 etc.). Keep in mind: • All notes should sound exactly same. No accents! • Same pressure in the hands the whole time. • Pay special attention to the first and last note on each hand, make sure it is consistent with the notes before it.

REMINDER: The tempos that are listed cover a wide range. Be honest with yourself and always play within your ability. If your sound is not totally consistent or if your heights vary, slow it down!

SINGLE BEAT MOELLER and VELOCITY: Use a “one note approach” for either technique. Practice at every dynamic level. 8 ON A HAND

q = 80-208

44 œ œ œ œ œ œ œ œ 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

L

R

L

q = 80-208

$7.95

7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 9 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5 .. œ œ œ œ œ œ œ œ œ œ .. 8 8 8 R

L

TRIPLET SANDWICH

R

q = 80-208

L

R

L

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 4 3

3

R L

A special note here: Make sure that you use the same technique for the quarter note triplets that you use for the 8th notes!


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DOUBLE BEAT MOELLER: Initiate each two note grouping with a full, half or low Moeller stroke. Cushion the stick “just enough” to produce a second note as close to the initial height as possible. Use a slight upstroke motion on the second note (with elbow, arm motion). VELOCITY: Two full strokes on each double beat. Stay relaxed at the moment of impact, allowing the hand to follow the stick back to the attack height in order to play the second note. The stick will be cushioned at the top to prepare for next attack / initiation.

q = 60-208

44 œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ 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 L

L R

R L

TRIPLE BEAT In Moeller, the upstroke happens on the 3rd stroke. In Velocity, there are 3 even strokes instead of 2.

q = 60-208

4 œœœ œœœ œœœ œ œ œœœ œœœ œœ œ œ œ œœ œ œ œœ œœ œ œ œœ œœœ œœœ œœœ œ œ .. 4 R L

L R

R L

QUAD BEAT In Moeller, play the upstroke on 4th note. In Velocity, there are 4 strokes instead of 3.

q = 60-152

≈ ≈ ≈ 43 œ œ œ œ œ œ œ œ œ œ œ œ 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 L

L R

R L

COMBINATION BEATS The next exercise uses a combination of multiple beat patterns. Apply either technique individually, or a mixture of the two (Velocity for single beats and Moeller for multiple beats – or vice versa. It’s up to you!). Ultimately, your ability to merge the two techniques will depend on your proficiency with each of them separately. The “test” to how well versed you are comes down to sound quality. The sounds that you create should be the same, whichever technique that you employ!

q = 60-152

44 œ œ œ œ œ œ œ œ œ R L

œ œ œ œœœ œ œœ œœ

œ œ œ œ œœœ œ œœ œ œ œœ œœœœœ œ œœ

REMINDER: Virtually everything you are going to play from here to the end of the book is a combination of either 1, 2, 3, or 4 note groupings. MASTER EACH ONE with excellent sound, technique and at every dynamic level before moving on!

..


The Next Level

33

II. TWO HEIGHTS

ESSENTIAL SKILLS NEEDED FOR THIS CHAPTER:

In this segment, I will cover standard accent and tap exercises and define the approaches for each technique in depth. Before you begin these exercises, make sure that you’ve worked through the “2 Note Moeller” (p. 21) and “2 Height Velocity” (p. 27) exercises in the previous chapter. Also, refer back to the concepts of “Cushioning the Stick” (p. 13), “Tap Hum” (p. 13) and Basic Strokes (p. 15). You’ll apply this knowledge to all the exercises in this chapter.

2 Note Moeller – page 21 2 Height Velocity – page 27 Cushioning the Stick – page 13 Tap Hum – page 13 Basic Strokes – page 15

KEY POINTS ABOUT 2 HEIGHT MOELLER AND VELOCITY When playing two height Velocity, all of the strokes are considered single beats at different heights. In two height Moeller applications, the downstroke is the only motion that is produced. All other strokes happen as a result of the downstroke. Remember that a note played immediately before an accent is ALWAYS an upstroke.

TWO NOTE GROUPINGS BUCKS

>

q = 60-208

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>

>

>

>

>

>

>

>

>

>

>

>

>

>

4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ 4 R

L

BUZZ BUCKS

R

L

q = 60-120

Before we go any further with two heights exercises, let’s make sure that you know how to play two height exercises correctly. Even if you think you have this down, practice the following exercise to get EVEN BETTER definition and control. The buzz should be as short as possible. Experiment with controlling the buzz from the front and the back of the grip. TWO DISTINCT HEIGHTS!

> > > > > > > > > > > > 44 œZ œZ œZ œZ œZ œZ œZ œZ .. .. œZ œ œZ œ œZ œ œZ œ .. .. œ œ œ œ œ œ œ œ .. R L

FILLING IT IN “Filling it in” is a concept that has been around for a while, but was shown to me by Paul Rennick when I attended The University of North Texas. The concept is simple: Starting with one hand, you’ll “fill in” the notes between the accent and tap on the opposite hand. What you’ll gain by doing this is two-fold. First, you’ll learn to keep the opposite hand low, relaxed and “in time” with the primary hand. Second, you’ll learn to make the two hands sound alike on all the taps. Regardless of the technique used, balance the “filled in” taps to the lead hand. M.M. = 60-208

A >

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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

B >

RL R

>

>

>

L

>

>

>

>

LRL

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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

C >

R R L R R L R R L R R

>

>

>

>

>

>

L

>

>

RL R

L

L L R L L R L L R L L

>

>

>

>

>

>

>

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 4 R

RL RL

L R L R

L RL


The Next Level

34

THREE NOTE GROUPINGS TRIPLET BUCKS

>

>

>

q.=60-172

>

>

>

>

>

>

>

>

>

>

>

>

>

12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 R

L

R

L

Refer back to the discussions of Moeller and Velocity in the Technique Chapter for more information! TRIPLET BUCKS: SHIFTING THE ACCENT

This exercise uses the same approach as above, however, the accents are shifted to different partials of the 3 note grouping (we’re applying the “Grid” approach that I discussed on page 14, and the 4-2-1 breakdown). Use the same approach on the Moeller and Velocity techniques, only starting the process at different partials of the triplet. “FEEL THE DOWNBEATS” by tapping your foot while you practice this exercise.

q . = 60-144

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>>

>

>

6œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ 8 R

R

>

R

>

L

L

L

>

etc.

>

>

>

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

FILLING IT IN

q . = 60-172

Now we’ll take the triplet bucks exercise and “fill in” the 16th notes on the opposite hand, just as we did with the duple bucks exercise on the previous page. Apply accents on each partial of the three note grouping.

>

>

œœœ œ

œ œœœ

>

>

R L R L R L

R L

R L

œœœ œ

>

œ œ œœ œœœœœ

R L R L R L

R L

œ œœœ

R L

R L L R

>

R L R L R L R L R L

>

œ œ œœ œœœœœ

3 NOTE CONTROL

>

>

>

>

>

>

>

>

œ œœœœ œœœ œœ œœœœœœ R L

R L R L L R L R

>

R L R L R L

>

R L L R

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

>

œ œœœœ œœœ œœ œœœœœœ >

>

>

This next exercise takes the triplet bucks and applies it to a ‘duple’ time signature. For the Velocity technique, essentially the control factor is the same throughout (though correct placement of each note within the rhythm is also important). Remember to keep the pressure in the grip the same at all times – and that every stroke should use the same downward velocity, regardless of height.

œœœ œ

œ œœœ

œ œ œœ œœœœœ

œ œœœœ œœœ œœ œœœœœœ

When using the Moeller technique, there are several control issues that make the approach on each measure different. The fundamental concepts that you’ll apply is that you’ll use a “controlled rebound” when going from high to low (meas. 1) and a “whip motion” when going from low to high (meas. 2). Measure 3 employs BOTH concepts. When using Moeller for this exercise, it is okay to play the taps slightly higher than level 3.

q = 60-120

>

>

>

>

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ 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 L


The Next Level

35

III. COMBINATION BEATS / MOTIONS In this section, I will go in to detail of two height beat combinations and motions. Remember to practice the following exercises with accents and without accents at every dynamic level! Refer back to the Technique chapter as necessary.

Single and Double This exercise is a combination of one accented note followed by a low double. This pattern is called “Huck-ka-dicks”, because that’s what it sounds like. This motion is the same motion that is used for playing Paradiddle-diddles.

q = 60-120

>

4œ œœŒ 4

>

œ œ œ Œ

R

q = 60-160

>

44 œ œ œ 3

R

>

3

œ œ œ

>

3

œ œ œ

>

>

œ œ œ Œ

>

œ œ œ Œ

L

3

œ œ œ

>

3

œ œ œ L

>

3

œ œ œ

>

3

œ œ œ

>

‘ 3

œ œ œ

..

MOELLER:

Use the same basic technique as in the Bucks exercise above, but consider the first note of double as a “cushioned rebound” to level 3. Play an upstroke on the second note of the diddle.

VELOCITY:

Use a full stroke for the accent, rebounded to 3, followed by a low double beat. Return the stick to accent height for the next pattern.

Single and Triple This one is called “Huck-digga-dicks”... again, because of the way it sounds. It’s very similar to “Huck-ka-dicks”, but with a low triple beat instead of a double. This motion is the same as when playing Flam Accents.

q = 100-208

>

44 œ

R

q . =60-120

>

Œ

œ œ œ >

>

œ

œ œ œ

>

>

Œ

>

œ

œ œ œ

>

>

L

Œ

>

œ >

Œ

œ œ œ >

12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 8 R

L

Single and Quad

A combination of one high note and four low notes – called “Huck-digga-duggas”. This motion is associated with rudiments similar to the Flam Paradiddle. Use the same techniques here as described on the exercises above. These exercises are all variations of what was learned in the technique chapter of the book, only faster. Guess what? If you didn’t learn it then, you’re probably having problems with it now! There are no shortcuts.

q = 100-208

>

4œ œ œ œ œ Œ 4 R

q = 60-160

>

>

>

œ

44 œ œ œ œ œ . œ œ œ œ œ . R

œ œ œ œ Œ

>

œ

L

>

œ œ œ œ Œ >

>

œ

œ œ œ œ œ. œ œ œ œ œ. L

œ œ œ œ Œ

NOTE: Practice all of the above exercises with very strict two heights first (12/3). After you have very defined heights, practice with taps at 6, 7, 9, without accents, filled in, etc. The possibilities are endless to what you can come up with! Regardless of the technique used, balance the added in taps to the lead hand.

.. ..


The Next Level

36

IV. GRID ONE: MOVING ACCENTS THROUGH 16th & TRIPLET PATTERNS 16th NOTE GRID PERMUTATIONS Count the downbeats out loud, tap your foot to the downbeats and use a metronome. 16th NOTES, MOVE ONE ACCENT

> > > > > > > > > > > > 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4's

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

R L

L R

L R

L R

L R

R L

R L

R L

R L

L R

L R

> > > > > > > > > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. L R

L R

L R

2's

L R

R L

R L

L R

L R

R L

R 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 œ œ œ œ œ œ œ œ .. œ

1's R L

L R

R L

L R

R L

L R

R L

L R

R L

16th NOTES, MOVE TWO ACCENTS (Listed below are 2’s and 1’s – don’t forget the 4’s!)

> >

> >

> >

> >

> >

> > >

> >

> > >

Œ

Ó

> >

>

> > >

>

44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. > >

> > >

> >

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

16th NOTES, MOVE THREE ACCENTS

> > >

> > >

> > >

> > > >

> > > >

> > > >

> > >

> > > >

> > >

>

> > > >

>

44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. > > >

> > > >

> > > >

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

Now, how about moving the accents backwards through the grid? 16th NOTES, MOVE ONE ACCENT BACKWARDS

>

>

>

>

>

>

>

>

44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. >

>

>

>

>

>

>

>

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..


The Next Level

37

16th NOTES, MOVE TWO ACCENTS BACKWARDS

>

> >

>

> >

> >

> >

> >

> >

> >

4 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 4 >

>

> >

> >

> >

>

>

> >

> >

> >

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

16th NOTES, MOVE THREE ACCENTS BACKWARDS

> >

> > >

> >

> > >

> >

> > >

> > > > > >

> > >

4 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 4 > >

> >

> >

> > > > > >

> >

> >

> >

> > > > > >

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

TRIPLET GRID PERMUTATIONS Same concept as above: this time moving 1, 2 and 3 accents through a three note grid. Try counting the fours “1,2,3,4”, the twos “1,2”, and the ones “1,2,3”. TRIPLETS, MOVE ONE ACCENT

4's >

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>

>

>

>

>

>

>

>

>

>

R L

L R

L R

R L

L R

R L

R L

L R

R L

L R

12 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R L

2's >

L R

R L

L R

>

R L

L R

>

>

>

>

1's >

R L

R L

L R

R L

>

> >

>

>

6 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 9 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 8 8 R L

L R

L R

R L

R L

L R

L R

L R

The following variations are written with just the 2’s and 1’s – don’t forget the 4’s!)

>> >> >> >> > >> > >> >>> > >> >>> > 6 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 9 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 8 8

TRIPLETS, MOVE TWO ACCENTS

> > > > > > > > > > > > 6 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 9 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 8 8

TRIPLETS, MOVE ONE ACCENT BACKWARDS

> >> > >> >> >> >> > > >>>> > > >>>> 68 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 98 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

TRIPLETS, MOVE TWO ACCENTS BACKWARDS


The Next Level

38

V. CRESCENDOS AND DECRESCENDOS When playing crescendos and decrescendos, you will need to know how to place the stick at any height necessary. Make sure you have practiced with different tap heights as mentioned earlier as that skill will help you tremendously with crescendos and decrescendos. Also try filling in these exercises to work on both hands crescendos and decrescendos. TIP: If you play a crescendo, each note should be louder than the one before it. If you play a decrescendo, each note is softer than the one before it. That might sound a little obvious except that you need to think “mathematically” about the amount that each note is louder or softer than the next – and make it consistent throughout the dynamic change.

Play with the same touch and keep the same tone to your sound during all dynamic changes. Take the entire allotted time to crescendo or decrescendo. Each crescendo starts at p/3 and goes up to f/12; each decrescendo starts at f/12 and goes down to p/3. M..M. = 80-208

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 4 R L

R L

44 œ œ œ œ œ œ œ œ 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 L

L R

R L

L R

More Multiple Heights This next exercise is called “Hugga-dicks” because of the way it sounds (you probably guessed that). Hugga-dicks are MUCH different than the triple beats that we worked on earlier. There are three different heights in this exercise: 12 for the first note, 6 for the second, and 3 for the last. Think of a “controlled decrescendo” for this exercise, regardless of which technique is used. This is also the same hand motion used for Flam Taps which are covered in the FLAM CONTROL chapter later in the book.

q = 100-208

>

>

44 œ œ œ œ œ œ R

q = 80-172

>

4œ œ œ 4 R

>

œ œ œ

>

>

>

>

>

>

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ

>

>

>

>

>

>

œ œ œ

œ œ œ

L

œ œ œ L

œ œ œ

œ œ œ

MOELLER • Use a high, full, or half Moeller for the accent (depending on tempo and desired height). • Flyback note at 6 for the second. • Upstroke starting at 3 for the third. VELOCITY • Use a full stroke for the accent (regardless of tempo). • Allow stick to rebound to 6 after the accent, play a second Velocity Stroke. • Allow stick to rebound to 3, play the third Velocity Stroke. • Return stick to accent height.

œ œ œ

..


The Next Level

39

VI. THE NEXT LEVEL I’ve included these final exercises so that you can apply every technique and beat combination learned in this chapter. Experiment with all different accent and tap heights. Be able to play all the exercises with Velocity AND Moeller, combining the two on multiple beat patterns. It’s up to you! Have fun with these exercises and come up with your own that feel good to you. Here are a few tips to get you going: • When moving from low to high heights at faster tempos, use Moeller. • For a one-heighted “quantized” sound, use Velocity. • Find a tune that you like and play along with it. That will really help you learn to groove and become relaxed within the technique that you choose to work. * The next several exercises utilize the concept of “filling it in”. The base one-handed rhythm pattern is notated in the first bar, the “filled in” version is notated in the second (the sticking of the primary hand duplicates the rhythm in the previous bar). Review the concepts of “FILLING IT IN” on page 33 before working on these exercises.

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44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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

4 œ œ œ œ œ œ ≈œ œ œ œ œ œ 4 R L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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The Next Level

40

44 œ œ œ œ œ œ ≈ œ œ œ œ œ R L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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

44 œ œ œ ≈ œ œ œ œ œ œ œ œ R L

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Some other ways to practice the above exercises: • Experiment with “moving the accent around” to different notes within the rhythms. • Play the lead hand high and the fill in hand low – or vice versa. • Play at every height and dynamic level. • Add in crescendos and decrescendos (1 bar, 2 bars, entire exercise etc.)

ONE HANDED WARMUPS & TWO HEIGHT CONTROL REVIEW: If you have truly mastered every exercise in this chapter, you have achieved a very high level of playing and have a very solid foundation to move forward into what this book really has to offer. When playing two heights, make sure you “look” like it sounds – if you’re playing an accent, it is high; if you’re playing a tap, it is low. This will ensure that the height matches the volume.

To recap the primary uses of Moeller and Velocity: MOELLER:

Use one motion for multiple sounds/heights and can also be applied to reach greater speeds. Employ the upstroke and downstroke to get the desired sounds or heights.

VELOCITY:

Produces very consistent sound and tone from accent to tap. Same approach throughout, just from a higher or lower point to the head.

To truly meld the two styles together, you must first master each one individually. Once you have done so, you can use the style that best fits the music or the way you want to sound. What I find is that I use about 60% Velocity and 40% Moeller. I use Moeller on the faster two height passages and Velocity for one height passages.


The Next Level

41

TIMING CONTROL What I have tried to do in this chapter is present the most common rhythmic note groupings for today’s rudimental player, focusing primarily on the correct rhythmic interpretation of 16th notes, triplets, sextuplets, 5’s, 7’s and 9’s. Because there is mathematically no “stopping place” with the rhythmic values, rhythmic combinations and independence related to playing one hand against the other, I have chosen to limit the exercises in this chapter to what I feel is most applicable. This chapter includes: I.

TIMING CONCEPTS – Hand motion and the basic math which is timing.

II.

16th NOTE TIMING – An in depth study of 16th note permutations.

III.

TRIPLET TIMING – An in depth study of rhythms in triple time and 8th note triplets

IV.

DUPLE AND TRIPLE RELATIONSHIPS

V.

16th NOTES IN TRIPLE TIME and 16th NOTE TRIPLETS (including sextuplets)

VI.

THE NEXT LEVEL – Polyrhythms, Quarter Note Triplets, Ninelets, Fivelets, Sevenlets, and more.

Playing in time is one of the most important aspects of true musicianship. However, despite the importance of rhythmic accuracy, this area of development often does not get the attention and devotion it deserves. Younger players often would rather spend time on difficult rudiments instead of the basic timing patterns those same rudiments are built upon. Even though perfecting these timing patterns may seem a bit tedious, being able to play these rhythms perfectly in time is an ESSENTIAL SKILL for any musician.The essence of playing in time comes from the ability to feel an internal pulse while you play. For those of us who were not born with a natural sense of time, we have to train ourselves to internalize this pulse or groove. We do this through practicing with a metronome and playing MATHEMATICALLY CORRECT rhythms.

I. TIMING CONCEPTS UNDERSTANDING MATHEMATICAL SUBDIVISIONS ˙

To understand HOW to play in time, you must first understand the mathematical subdivisions of a beat and begin thinking of rhythms in terms of the amount of VISUAL space that each note takes up. To be mathematically correct, each note needs to take up a precise amount of space (think visually and not aurally). Below is a chart of the most common duple and triple note values in quarter time. It may help to refer back to it as you work your way through this chapter!

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The Next Level

42

ESTABLISHING A CONSISTENT “LEAD HAND” MOTION One of the easiest ways that I’ve found to get students to play simple rhythms in time is to first establish a consistent “lead hand” motion. The lead hand in any alternating rhythm is simply the hand that starts the rhythm. Spend some time practicing these “base” lead hand rhythms with a metronome. Watch that your hand motion is consistent and fluid throughout. Keep in mind that for quarter notes, the stick will “rest” after playing the note (stay down). For 8ths and 16ths, the stick will “float” or rebound to the up position.

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Using the “lead hand” approach, you can come up with 3 very basic timing exercises just by “filling in” the alternating hand. Practice playing the lead hand on the drum and the filled-in hand on the rim or your leg.

42 œ

R L

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R L

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42 œ œ œ œ œ œ œ œ 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 L

L R

R L

L R

R L

L R

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L R

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42 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 R R R R R R R L L L L L L L L

R L

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

RL RL RL RL L RL R L RL R

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

Now, you can combine any of the “filled-in” rhythms to come up with more exercises. In the following example, I’ve combined patterns 1 and 2 into an easy timing exercise. You can come up with MORE with other combinations. Try 1 and 3. Or 2 and 3. Or 3, 2, and 1...

42 œ

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Important things to consider when working on ANY timing exercise: • Always use a metronome AND tap your foot (or mark time) while you play. • Listen for consistency of sound between the hands (tap hum).

II. 16th NOTE RHYTHM PATTERNS Before jumping in to the basic 16th note timing exercises, I think it’s very important to establish a solid understanding of each of the 16th note rhythms that we’ll be dealing with. In the exercise below, you’ll see the “base” rhythm (often called the “check pattern”) below the various 16th rhythms that you’ll see in this section. Practice playing the base rhythm (bottom) on one hand while you play the 16th pattern (top) on the opposite hand. This will not only give you a solid understanding of the subdivision for each rhythm pattern, but it will also help develop coordination and independence between your hands. Practice this exercise using the 4-2-1 concept (four counts of each pattern, then 2, then 1). Also try using an 8th note base rhythm instead of 16th. Don’t forget to work with a metronome and tap your foot while you play!

14 .. œœ œœ œœ œœ .. .. œœ œœ œœ œ .. .. œœ œœ œ œœ .. .. œœ œ œœ œœ .. .. ≈œ œœ œœ œœ .. .. œœ œœ ‰œ œ .. .. ≈œ œœ œœ œ .. r j j .. ‰œ œ œœ œœ .. .. œœ .œ œ œœ .. .. œœ œ œœ œ .. .. ≈œ œœ œ œœ .. .. œœ œ œ œ .. .. ≈œ œœ œ. œ .. .. ‰œ œ œœ œ .. .. ‰œ .œ œ œœ ..


The Next Level

43

APPROACHES TO STICKING 16th NOTE RHYTHM PATTERNS One more item to discuss before moving on is two approaches to sticking rhythms: Flow Sticking (sometimes called “Natural Sticking”) – where the right and left hands have a constant hand motion and relationship to the beat (right hand on “1”, “&”, while the left is on the “e” and “ah”). Alternate Sticking – where the right and left hand always alternate, regardless of where the notes fall in relation to the downbeat.

FLOW STICKING In the first exercise below, the lead hand maintains constant motion throughout (in this case, 8th notes). In the 2nd exercise, the same consistent motion is applied on the lead hand from measure 1 to 2, but in measures 3 & 4, it is the non-lead hand that continues in motion.

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L R

R L

L R

œ ≈ œ L R

R L

L R

œ

L R

L R

ALTERNATE STICKING Alternate sticking takes much more awareness of time because you use multiple hand motions. There is still a rhythm to the motion, but the hands will “rest” or “float” more often, depending on the tempo and division of notes.

44 œ

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16th NOTE TIMING: NOTE GROUPINGS The following exercises cover the various note groupings that are possible within 16th note rhythm patterns. Just flow sticking is listed so be sure to practice with natural sticking as well. Notice the “4-2-1-ness” of the exercises and remember to keep the rhythms ANGLED. Try counting the downbeats out loud for even more practice and rhythmic definition.:

3 NOTE GROUPINGS

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R L R L R L

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

R L R L R L

R L L R

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L R L R L R

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

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

L R L R L R

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

œ œ œ œ œ œ ≈œ œ œ ≈œ œ œ 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 L

R L R L R L

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R L L R

L R L R L R

R L R L R L

R L L R

L R R L

R L L R

L R L R L R


The Next Level

44

2 NOTE GROUPINGS

44 œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ 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 L R L R L R L R L L R L R L R L R L R

R L L R

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

L R R L

L R R L

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

R L L R

R L L R

œ œ œ œ œ œ œ œ œ . œ œ . œ .. 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 L R L R L R L R L R L R L R L R L

L R R L

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

R L R L L R L R

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

L R

œ œ ‰ œ œ ‰ ≈ œ œ ≈ œ œ ‰ 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 L L R

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1 NOTE GROUPINGS

44 œ œ œ œ œ œ œ œ œ

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r . r . ‰ œœœœœœœœ œ ‰ œ .. œ œ œ œ œ R L R L R L R L L R L R L R L R

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CHECK PATTERNS Now let’s apply all 14 permutations into one exercise. This is a time-honored exercise that has been handed down through the ages which explores every possible combination of 16th note groupings and isolation. Simply replace the group of four 16ths in the exercise with each of the rhythm patterns below. Remember that you can practice this exercise using Flow Sticking (off the right and the left), or with Alternated Sticking.

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The Next Level

45

III. RHYTHM PATTERNS IN TRIPLE TIME The previous exercises have all dealt with duple time signatures (1/4, 2/4, 3/4, etc.) – where each downbeat can easily be subdivided into two parts. The next several pages are devoted to triple time signatures – where each downbeat is divided into THREE parts. While you’ll often see these rhythm patterns written in “8 time signatures” (3/8, 6/8, 12/8, etc.), they are often notated as triplets within a quarter time signature. Whatever the case, it’s important that you first develop a solid understanding of all the possible rhythmic combinations. In the exercise below, you’ll see the “base” rhythm (often called the “check pattern”) below the various “triplet” rhythms that you’ll see in the next section. Play the base rhythm (bottom) on one hand while you play the triple patterns (top) on the opposite hand. Practice this exercise using the 4-2-1 concept (four counts of each pattern, then 2, then 1). Start slowly with a metronome set on 40, with a triplet subdivision. Tap your foot (or mark time) to the downbeat (first note) of each measure. Once you can play every rhythm pattern perfectly at dotted quarter equals 40, move the tempo up 10 b.p.m. Once you reach your top speed, use a dotted quarter as the base rhythm.

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j

j Œ ‰ ‰ . œœ œœ œ .. .. œœ STICKING œœ .. .. œœ . œ œ .. .. œ œœ œ .. .. œ œ œœ .. œ œœ .. .. œ œœPATTERNS FLOW AND .ALTERNATE

The same concepts learned in the beginning of the 16th timing apply to triplets. Essentially, when using the Flow Sticking concept, you’ll start with the base rhythm (measure 1 in the following example), and simply take out the hand(s) that are taken out on the rhythm pattern:

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R

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With the Alternate Sticking, you’ll simply alternate EVERY stroke, no matter what rhythms are played:

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R

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TRIPLET TIMING The following exercises deal with either 2 or 1 note groupings in triplet form. Use fluid hand motion to accomplish the correct rhythms. Work with a metronome and keep the rhythms ROUNDED. Try counting the downbeats out loud.

2 NOTE GROUPINGS

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R L

L R

œ œ œ ‰ ‰ œ œ œ R L

L R

R L

L R

R L

L R

j

œ

L R


The Next Level

46

1 NOTE GROUPINGS

12 8 œ œ œ œ œ œ œ. œ. R L

L R

R L

L R

R L

L R

R L

œ œ œ œ œ œ ‰ œ ‰ œ

L R

R L

L R

R L

L R

R L

L R

L R

j

j

œ œ œ œ œ œ Œ œ Œ œ .. 68

R L

R L

L R

R L

L R

R L

L R

R L

L R

68 .. œ œ œ œ . œ œ œ ‰ œ œ œ œ Œ œj .. œ . œ . ‰ œ ‰ œ Œ œj Œ œj 98 œ . ‰ œ Œ œj œ . ‰ œ Œ œj R L R L L R L R

R L R L R L

R L

R L R L R L

L R

R L

L R

L R

R L

R L

L R

R L

R L

R L

L R

L R

L R

TRIPLET CHECK PATTERNS

12 8 œ œ œ œ œ œ œ . œ . œ œ œ œ œ œ œ . œ . œ œ œ œ œ œ œ œ œ œ œ œ œ . œ . œ . œ . .. œ . Œ . Ó . 2

1

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

2 Note Groupings 2 Note Groupings

1) 1)

œ œ

L R

‰ ‰

œ œ

1 Note Groupings 1 Note Groupings

4) 4)

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

2) 2)

œ. œ.

5) 5)

L R

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

‰ ‰

œ œ

3) 3)

œ œ

j œj

‰ ‰

‰ ‰

œ

R L

6) 6)

L R

R L

L R

R L

j œj

œ œ

..

œ

j œj

Œ Œ

œ

IV. UNDERSTANDING DUPLE AND TRIPLE RELATIONSHIPS This section of the timing chapter deals with triplet groupings (3 notes per beat) and duplet based groupings (either 2 or 4 notes per beat) and how they relate to each other. Start slow with a metronome set on quarter notes with no subdivision, focusing your attention first on the hand that plays each downbeat. Once the consistency of the “downbeat hand” is established, begin to pay close attention to the evenness of the rhythm between the beats.

TRIPLETS AND 8th NOTES TOGETHER Here is an exercise that relate triplets to 8th notes. Practice these groupings first with an accent on the downbeats to become familiar with the spacing of the rhythms. When you feel more comfortable, take out the accents and play at one height. Realize the space between the first and second note establish the evenness of the grouping. For 8th notes, the space will be larger from the first to the second note than with 8th note triplets.

>

>

>

>

R L L R

R L L R

R L

L R R L

>

>

>

>

>

>

>

>

>

>3 >

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ œ œ œ œ œ œ œ œ œ œ ‘ L R

3

3

3

3

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

R L

R L

3

L R

3

R L

L R

R L R L L R L R

R L

3

L R L R L R


The Next Level

47

16th NOTES AND TRIPLETS Here we focus on playing 16th notes and triplets together. The 16ths still have a “duple” feel so these patterns are very similar to the exercises learned above. REMEMBER: The space between the first and second note establish the evenness of the grouping. For 16th notes, the space will be SMALLER from the first to the second note than with 8th note triplets and vice versa.

16ths and TRIPLETS The next several exercises deal with using 16th’s as the 'check', then adding in various triplet rhythms. Focus on each downbeat to make sure you have even subdivisions of the 16ths and triplets.

4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 3

R L R L L R L R

etc. etc.

3

3

3

3

3

3

3

3

3

3

3

œœœœœœœœœ œ œ œ œ œ œœœœœ œ œ œœœœœ œ œ œœœœœ œ œ œœœœœ œ œ Try these rhythmic variations in place of the triplets above. Remember that when playing with Flow Sticking, use the sticking of the full triplet base. Also practice with Alternated Sticking.

1)

3

œ

œ

2)

3

œ

‰ œ

3)

3

‰ œ œ

4)

j

œ

3

‰ ‰

5)

j

3

‰ œ ‰

6)

j

3

‰ ‰ œ

r ≈ œj. ‰ œj ‰. œ

Try all these 16th rhythmic variations in place of the 16ths on the exercise above.

œ œ œ œ œ œ œ œ œ ≈ œ œœ œ œ ‰ ≈ œ œ ‰ œ œ œ . œ œ œ ≈ œ œ œ

> > > > > > PERMUTATIONS >> > > > > >TO > DUPLE > > > > >/ TRIPLE > > > > > > >> > APPLYING RHYTHMIC

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

We have applied triplets and 16th’s together but not quite like this. Below are the same types of patterns but notated in either 16th or triplet form. Make sure you know where the downbeat is at all times by tapping your foot and using a metronome.

> > >>

Thanks to Glen Crosby, Ed Barguiarena and the 1991 Velvet Knights for the next exercise.

3 3 3 3 3 3 3 3 œœœœ œœœœ œœœœ œœœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L R L R L R L L R L R L R L R

RL R L RL

RL R L RL

R L R L R L

R L R L R L

R L R L R L

œ œœœ œœœ œœœ œœ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œœ œœœ œœœ œœœ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ 3

R L

R L R L R L

R L L R

R L

3

R L R L R L

3

R L R L R L

3

3

R L L R

R L L R

L R L R L R

L R

R L L R

3

3

L R L R L R

3

L R L R L R

L R

> > > > >3 >3 >3 >3 > > > > > 3 >3 3 > 3 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰

If you’re up for a challenge, here is a variation with accents added:

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

RL R L RL

RL R L RL

R L R L R L

R L R L R L

R L R L R L

> > > > > 3 >3 3 > 3 > > > > > 3 >3 3 > 3 œ œœœ œœœ œœœ œœ œ ‰ œ œ œ ‰ œ œ œ ‰œ œ œœ œœœ œœœ œœœ œ œ œ ‰œ œ œ ‰œ œ œ ‰ œ R L

R L R L R L

R L L R

R L

R 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

L R

R L L R

L R L R L R

L R L R L R

L R


The Next Level

48

V. 16th NOTES IN TRIPLE TIME & 16th NOTE TRIPLETS We have covered 16ths and triplet timing. Now we will cover 16th timing in a triple time signature (6/8, 12/8 etc.). One common mistake students often make is to interpret similar rhythms in varying time signatures completely differently. Realize that 16th notes are ALWAYS 16th notes, 8th notes are ALWAYS 8th notes! The relationship of a given note to another stays the same regardless of meter or time signature. In the following examples, you will see the same type of treatment to 16th notes in 6/8 as we have done in 2/4 or 4/4. Apply every sticking model you have learned to the following exercises. This exercise lists two types of check patterns in the first two measures: 8ths or 16ths. Practice with both check patterns or without a check using the 4-2-1 concept. CHECK PATTERNS

VARIATIONS 1-6

68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4)

3)

œœœ œœœœœ œœ œœœ œ œœœ œ

1)

2)

5)

6)

œ œœœ œ œœœ

œ œ œœœ œ œœ

The next exercise moves a dotted 8th note through a bar of 6/8. Use the same 4-2-1 concept, with and without the check. Remember a dotted 8th receives the value of THREE 16ths.VARIATIONS 1-6 CHECKthat PATTERNS

68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ . œ œ œ œ œ . œ œ œ œ . œ œ 1)

2)

œ œ œ. œ œ œ œ. œ œ œ œ œ. œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ œ œ. œ œ œ œ. œ œ œ. 4)

3)

5)

6)

7)

TRIPLE TIMING: 16th NOTE TRIPLETS Now that we have learned 16th patterns in quarter time, 8th and 16th patterns in 8 time, the next grouping to cover is 16th note triplets. Just as an 8th note triplet is three 8th notes over one quarter, a 16th note triplet is three 16ths over one 8th.

œ

3

œ

œ

R L

L R

œ

R L

œ

œ

œ

œ

œ

œ

L R

R L

œ

3

œ

L R

R L

œ

L R

œ

3

œ

œ

R L

œ

L R

R L

œ

L R

3

œ

R L

œ

L R

Using the 8th note check, it’s very easy to feel the flow between the hands (I call this the “pendulum motion” because the hands swing back and forth, like a pendulum). If you’ve never worked on 16th note triplets before, you can easily feel this pendulum motion by adding a slight accent on each downbeat and upbeat:

42

> > >3 > > > >3 > > > > >3 > > > >3 > > > > >3 >3 >3 >3 œ œ œœœœ œ œ œœœœ œ œ œ œœœ œ œ œ œœœ œ œ œ œ œœœœœœœœœœœœ R L

L R

RLRL LRLR

R L

L R

RLRL LRLR

R L

L R

R L

LRL R RLR L

L R

R L

LRL R RLR L

L R

R L

L R

RLRLRLRLRLRL LRLRLRLRLRLR

Once you are comfortable with the 16th note triplet, take the accents away and play the above exercise at one height.


The Next Level

49

TRIPLE TIMING: SEXTUPLETS Another way of notating two 16th note triplets back to back is in the form of a sextuplet. This is EXACTLY the same as two 16th note triplets in a row, the rhythm just happens to have a “6” over top of it instead of two “3’s”.

2 4œ

6

œ

R L

6

œœœœœœ œ

L R

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

œ

R

6

œœœœœœ œ œ œ œ

L etc.

R L R L R L

6

œœœœœœœœœœœœ

etc.

ANATOMY OF A SEXTUPLET Use the accents on the downbeat to identify the beginning of the sextuplet. Be sure to evenly space each note and accent through the sextuplet. Line up the downbeat accents with the metronome, and keep the taps even and open.

>

>

6

>>

6

>>

6

6

> >6 > >6

> 6> > 6>

>

R L

R L

R L

6

> >

6

> >

6

>>

>

6

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œœœœ œ œœ œœœ œ œœ œœœ œ œœœ œœ œ œœœ œœ œ œœœœ œ œ œœœœ œ œ œœœœœ œ œœœœœ RL RL RL RL RL RL L RL RL RL RL RL R

RL LR

RL LR

R L

R L

R L

L R

R L

L R

R L

R L

R L

R L

LR RL

L R

SEXTUPLETS AND OTHER RHYTHMS Here we will practice playing sextuplets with other rhythms. We have covered every subdivision you are about to see, so be sure to start each rhythm on a downbeat (no “slurring” of rhythms), tap your foot and use a metronome. Realize the speed of a sextuplet in relation to 16ths or triplets.

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R L

6

L R

R L

3

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

L

R etc.

6

L

3

R L R L R L

R

L

3

R

L

R

6

L

R

L

R

L

6

R

L

R

L

R

L

R

L

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

R L

L R

R L

L R

6

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

6

6

etc. etc.

VI: THE NEXT LEVEL THE 2:3 and 3:2 POLYRHYTHM As we are moving forward into more complex timing patterns, it is important to realize the relationship that certain rhythms have to each other. When two different rhythms are played at the same time, it is called a “polyrhythm.” The first polyrhythms you will learn are 2 against 3 (often referred to as 2 “over” 3, or 2:3) and 3 against 2 (3 “over” 2, or 3:2). In the following example, measures 1 & 2 are ways that you’ll see the 2:3 polyrhythm (2 notes over 3 beats), while measures 3 & 4 are ways that you’ll see the 3:2 polyrhythm (3 notes over two beats):

3 4 œœ .

œ œ. œ

3 œœ 8

2

œ œ œ

2 4 œœ

3

œ œ œ

6 œœ . 8

œ œ. œ

If you were to say the 2:3 polyrhythm out loud it would be “ONE, Two AND Three” Here is a quick exercise to build up the polyrhythm (notice the last 2 bars are notated differently but played the same as the 2 bars before it):

43 œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ . œ œ .œ œœ . œ œ .œ


The Next Level

50

TRIPLE TIMING: QUARTER NOTE TRIPLETS Using the 3:2 polyrhythm example from the previous page, it's easy to understand the concept of the quarter note triplet – it is simply three quarters in the space of two beats (or 3 against 2).

68 œœ œ œœ œ œœ œ œœ .

When beating time to the dotted quarter in 6/8 time, 3 quarter notes make up the 3 against 2 rhythm. Use the 8th notes as the base of the 3:2 rhythm:

68 œœ œ œœ œ œœ œ œœ .

œ œ. œ

3

3

œ œ œ

3

We have already discussed how hand motion can aid with timing in many ways. Here, we apply the hand motion concept to the forming of quarter note triplets. What I call the “Quarter Note Triplet” motion is present in these exercises (when you play just the lead hand of two 8th note triplets, you get a quarter note triplet). • Notice how the exercises are notated differently for the same rhythms. • Be able to feel the pulse of either the quarter note (4/4) or dotted quarter (12/8).

j‰ j j‰ j‰ j‰ j j 12 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 R L R L R L R L R L R L R L

R L

R L

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

R L

R L

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

L R

L R

R L

j

j

œœœœœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œ œ œ 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 L R L R L L R L R L R

R L

L R

L R

L R

L R

L R

L R

3 3 3 3 j3 j j 3 3 j3 j 3 3 j 3 j 44 œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ 3

3

3

R 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 L R L R L R

R L

L R

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

R L

L R

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

j

j

L R

R L

L R

j

œœœœœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ ‰œ œ œ 3

3

3

3

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

3

R L

3

L R

R L

L R

3

R L

L R

3

3

3

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

R L

3

L R

R L

3

L R

R L

L R

R L

Here are a few more exercises to practice the timing and speed of quarter note triplets. A quarter note triplet is played the same way, and takes up the same amount of space, regardless of where it falls in a measure.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R L

L R

R L

L R

3

R L

L

R etc.

L

R

3

L

R

L

R

3

L

R

L

R

L

3

R

L

R

L

3

R

L

R

L

R

L

R

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R L R L R L R L R L R etc.

3

L R L R L

R

3

L

R L R

L

3

R

L R

L R L

R

3

L

R L

R

L

3

R

L R L R

L

42 œœ œ œœ 3

3

42 œœ œ œœ œ œœ œ œœ

œ œ. œ

The 3:2 polyrhythm can also be written in 2/4 time as a quarter note triplet. This time, use an 8th note triplet as the base of the 3:2 rhythm:

3

R L

R L R L

NOTE: Don’t get thrown off by tuplet rhythms just because they look different when placed in different parts of the measure. A quarter note triplet is still a quarter note triplet, regardless what beat it starts on!


The Next Level

51

NINELETS 3

Having gone through sextuplets and quarter note triplets, ninelets are the next logical step in our timing journey. For the examples below, remember the quarter note triplet and 3 over 2. The same “3” pulse should be felt, but there happens to be 3 notes on each beat of the “3 pulse” or quarter note triplet:

œœ œ œ œœ œ œ œœ œ œ 9

NINELET BUILD UP This exercise builds up the ninelet based off the quarter note triplet, one pulse at a time.

> 3 > 3 > 3 > 3 > >3 > > >3 > > 3 > 3 > 3 > 3 > 9 > > > 9> > 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L R L R L L R L R L R

R L

L R

R L

L R

R L

L R

R L

R L R L L R L R

R L

L R L R R L R L

L R

> 3 > 3 > 3 > 3 > >9 > > >9 > > 3 > 3 > 3 > 3 > > 9 > > > 9 > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœ œ œ œœ œœœ œœ R L

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

R L

RLRLRLRLRLRLRLRLRL L RL RL RL RL RL RL RL RL R

In this exercise, use the triplets in the first bar to establish the quarter note triplet pattern (lead hand motion) and then play ninelets in the fourth bar. Don’t forget to tap your foot and use a metronome! 3 3 9 9 >3 >3 >3 >3 >3 >3 >3 >3 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L R L R L L R L R L R

R L

L R

R L

L R

R L

L R

R L

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

NINELETS AND OTHER RHYTHMS Remember the spacing of the first two notes of a grouping and what will be faster or slower. HINT: Think mathematically: Since a ninelet has 9 notes over two beats vs. 12 notes over two beats in a sextuplet, the sextuplet is faster. As you play each measure, listen for even spacing across the entire rhythm (don’t simply start the rhythm, then speed up or slow down in the middle to “fit it all in”)!

>

>

>

>

9

>

>

>

9

>

>

>

9

>

>

9

44 œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œœœœœœœœ >

R L

L R

>

R L

L R

>

RLRL RLRLR L LRLRL RLRL

9

R etc.

L

R

>

>

>

L

L

L

3

3

3

LRL RLRL RL R L R L R L RL RL RL RL R L

9

>

6

>

6

>

9

>

6

3

R

>

L

6

>

R

L

9

œ œ œ œ œ œ œ œ œ œœœœœœ œœ œ œ œ œ œ œ œ œ œ œœœœœœ œœ œœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœ œ œ œ œ œ œ œ œ R

R

R

R

R

R

L

L

L

BUILDING THE 3:4 OR 4:3 POLYRHYTHM There is one more fairly common polyrhythm that I need to cover before moving further into our timing adventure: three against four or four against three. Four over three is what happens when you play four notes in the space of three beats (or vice versa for three over four). Similar to the 2:3 and 3:2 polyrhythm learned earlier in the chapter, which rhythm is “against” or “over” the other based on the time signature and what note is getting the beat. This polyrhythm can be learned through the phrase “Pass the bread and butter.” Say that phrase out loud now: “PASS THE BREAD AND BUTTER”. Did you really just say that out loud? If not, go ahead, it will make sense in a minute!

4:3

43 œœ . œ .œ œ . œ œ .

3:4

44 ˙œ

3

œ˙ œ ˙œ


The Next Level

52

Use this exercise to build up the 4:3 polyrhythm. Try to feel each hand / rhythm independently (3 or 4) as well as the composite rhythm (“pass the bread and butter”). Notice the last bar is notated differently but played the same as the bar before it.

43 œœ œ œ œœ œ œ œœ .. œ œ œ œœ .. œ œ œ œœ .. œ œ œ œ œœ .. œ œ œ œ œœ .. œ œ œ œ œ . œœ œœ œ œœ Pass the

Pass

Pass the

bread

Pass the

&

&

4

ter

bread but

bread

The 3:4 polyrhythm is a little different because you'll use a triplet base instead of 16ths. Start slow, playing triplets on the left and the top rhythm in the right – while you tap your foot to each downbeat. Measure 4 is the same as measure 3, but written differently. When you finally play the 3:4 polyrhythm in m.5, sing the triplet subdivision.

3 3 3 3 j j j 4 œœœœ œœœ œœœ œœœ .. .. œœ œ œ ‰œ œœ ‰œ œ œ œ œ œ œ .. .. œœ œ œ ‰œ œœ ‰œ œ‰‰œ œœ œ œ œ .. .. ˙œœœ œœœ ˙ œœœ˙ œœœ .. .. ˙œ œ ˙ œ ˙ œ .. 4 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

GROUPINGS OF 3: THEY ARE NOT ALL THE SAME Below we will practice different groupings of notes, some triplets, some dotted 8th rhythms, and some groupings of three 16th notes. It is important to know the difference between the separate (but similar) rhythms.You will also see how the 3:4 and 4:3 polyrhythm relates as well.

GROUPINGS OF 3 AND 4 16ths Here are examples of groupings of four and three 16ths together. Make sure you know where the downbeats are in the bar. Remember that a dotted 8th note is equal to three 16th notes. Tap your foot and use a metronome! REMEMBER: Regardless of where the accents are, you are still playing 16ths. Use the same hand motion and speed the whole time – only the accents are changing places.

>

>

>

>

>

>

>

>

>

>

>

>

>

> >

>

>

>

>

>

>

>

R L

R L

>j >j >j >

>j >j >j

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ RL RL RL RL L RL RL RL R

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

Note the 4:3 for the first three counts of the second bar.

>

>

>

>

> > > > >

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ . œ . œ . œ R L R L R L R L L R L R L R L R

R L

L R

R L

L R

R L

œœœœœœœœœ . œ . œ œœœœœœœœœ . œ . œ R L

L R

R L

R L

R L

R L

L R

R L

Follow the same process from above for the next two exercises.

> > > > > > > > > > > > > > > > 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ R L R L R L R L R L R L R L R L R L

>

>

>

R L

>

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

> > > >

>

>

>

>

> > > >

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 œ . œ . œ . œ . 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 œ . œ . œ . œ . R L R L R L R L R L R L R L R L R L

R L

R L

L R

R L

L R

R L

L R

R L

L R


The Next Level

53

TRIPLETS AND GROUPINGS OF THREE 16ths and DOTTED 8ths This is the same concept as the previous section, but putting the 8th note triplets before the groupings of three 16th notes. Make sure you know where the downbeats fall within each note grouping. Remember that you are playing 16ths and triplets as you have done before, the accents are just in different places.

>

>

>

>

>

>

>

>

>

>

R L

L R

R L

L R

R L

R L

>

>

>

> >

R L

L R

R L

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

3

3

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

3

L R

3

3

L R

3

3

Note the 4:3 in the second bar.

>

>

>

>

> > > > >

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ . œ . œ . œ . œ 3

3

3

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

3

L R

R L

L R

R L

L R

>

>j >j >j >

>

>j >j >j

œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ. œ. œ

R L

3

R L

3

L R

R L

L R

R L

3

R L

3

L R

>3 >3 >3 >3 > > > > >3 >3 >3 >3 > > > > 44 œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ R L R L R L R L R L R L L R L R L R L R L R L R

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

R L

L R

R L

L R

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

Note the 4:3 in the 3/4 bars.

> 3 > 3 > 3 > 3 > > > > > 3 > 3 > 3 > 3 > > > > 44 œ œ œ œ œ œ œ œ œ œ œ œ 43 œ . œ . œ . œ . 44 œ œ œ œ œ œ œ œ œ œ œ œ 43 œ . œ . œ . œ . R L R L R L R L R L R L L R L R L R L R L R L R

>

>

>

>

R L

L R

R L

L R

R L

> >3 > > >3 > >

>

L R

>

R L

>

L R

R L

L R

R L

L R

> > > > > >

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ . œ œ . œ . œ 3

3

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

3

3

L R

R L

R L

R L

R L

R L

R L

3

3

3

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

3

L R

R L

L R

R L

R L

L R

R L

ODD NOTE GROUPINGS - FIVELETS AND SEVENLETS The next two segments deal with the advanced combinations of fivelets and sevenlets. These groupings are becoming much more common in today’s rudimental world, so spend some time getting familiar with them.

FIVELET TIMING Fivelets are five notes spaced evenly over one beat. Fivelets can also be counted a few different ways, two of the most popular (other than 1,2,3,4,5) are: “op·por·tu·ni·ty” and “hip·po·pot·a·mus.” Both 5 syllable words that just “roll-off-thetongue.” Practice the following exercise to evenly space a fivelet over one beat. Remember the “pendulum motion” learned with 16th note triplets.

>

>

42 œ œ œ œ œ œ 5

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

>

5

>

œœœœœœ

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

>

>

5

>

5

5

>

œ œ œ œ œ œ œ œ œ œ œœœœœœ R L

L R

R L

L R

R L

L R

R L

L R

R L

L R

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

..


The Next Level

54

ANATOMY OF A FIVELET This exercise takes an accent and moves it through a fivelet while keeping the downbeat accented. This will help you understand the hand speed that is needed to play an even fivelet and the relationship to the downbeat of each note. Apply the same procedure as we did with the sextuplets on page 54.

> 5 > 5 > > 5 > > 5 > >5 > >5 > 5 > > 5 > > 5 > > 5 > 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L R L R L R L R L L R L R L R L R L R

R L L R

L R R L

R L

R L

L R

L R

R L

L R

L R

R L

R L

R L L R

L R

FIVELETS AND OTHER RHYTHMS Here are exercise to help you relate fivelets to other rhythms such as 8th notes, triplets, 16ths and sextuplets. Refer to Anatomy of a Fivelet for other accent variations.

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. Experiment with 41 ∑ each of the note values∑ below in place of the ∑8th notes. Try placing accents ∑ on the downbeats∑ and 5

R L

L R

R L

L R

R L

5

L R

R L

L R

R L

L R

R L

L R

5

R L

L R

R

L etc.

R

L

5

R

L

R

L

R

L

5

R

L

R

L

R

L

R

throughout the rhythms to come up with your own exercises. 3

œ

œ

œ

SEVENLETS

œ

6

œ

œ

œ

œ

œ

œ

œ œ œ œ œ œ

Sevenlets are seven notes spaced over one beat. Use the exercise below to practice evenly spacing a sevenlet over a quarter note. Again, use the “pendulum motion” to feel the downbeats and evenly space your sevenlet.

>

>

>

42 œ œ œ ∑œ œ œ œ œ 7

>

7

>

œ œ œœœœœœ

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

R

L R L etc.

R L

>

7

>

7

7

>

..

œœœœœœœœœœœœœœ œœœœœœœœ

R L

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

R L R L R L R L

ANATOMY OF A SEVENLET Apply the same approach to this exercise as you did on the fivelet exercise. Stay relaxed and keep a fluid hand motion.

>

>

>>

>>

> >7

> >

R L

L R

>

>7

>

>7

R L

L R

L R

R L

2 4 œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œœ œœœœœ œœœ œœœœœœœœœœœœœœ >

7

7

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

7

>

>

R L

L R

7

7

R L L R

>

>

L R

R L

7

L R R L

7

>

>

R L

7

>

L R

7

>

7

>>

7

>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ R L

L R

L R

R L

R L

R L L R

L R

SEVENLETS AND OTHER RHYTHMS Use the same approach as learned with the fivelets. Experiment with different note values in place of the 8th notes.

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 7

R L

L R

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

7

L R

R L

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

7

R L

L R

R L

7

7

L R

R L


The Next Level

55

ADVANCED TIMING PRACTICE TIMING CHECK PATTERNS This exercise is Tom Float’s “Chugga-da” but adapted for use with timing patterns. Keep the 8th notes constant and play mathematically correct rhythms.

> > > > > > > > > > > > 1. > > > > 2. > > > > > > > > 85 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ œ 44 œ œ œ œ œ œ œ œ R L R L R L R L

R L R L R L R L

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

R

Now try these variations in the space of the 8th notes:

œ œ œ œ œ œ ≈œ œ œ œ œ ‰

œœœœ œœœ

L

R

L

R

L

R

L

R

L

R

L

≈ œ œ ≈ ‰ œ œ œ. œ ≈ œ œ

3 3 3 3 3 3 r j j j ≈ œ . ‰ œ ‰ . œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ œ ‰ œ ‰ ‰ ‰ œj

œ 3

3

œ œ œ œ

œ

5

6

6

6

œ œ œ œ œ œ œ œ œœœœœœ œœœœœ

7

œ œ œ œ œ œœœœœœœ

Don’t feel limited to the variations I have listed, feel free to come up with your own!

Here are a handful of exercises you can apply your vast rhythmic knowledge to. Remember to tap your foot and use a metronome!

44 œ œ œ œ ≈ œ R L

L R

R L

L R

œ ≈ œ

L etc.

L

j3

œ ≈ œ œ œ œ œ œ œ œ 3

L

L

L

R

L

R

L

R

L

j

œ ‰ œ œ

3

œ

R

R

3

R

R

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ≈ œ œ œ .. 3

R L

L R

R L

R etc.

R

L

R

L

L

R

L

3

3

R

L

R

L

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R L

L R

3

R L

L

R etc.

3

L

R

L

R L

R

R

L

R L R

R

L

L

R

R

L

R

3

œ œ œ œ œ œ œ

L

R

L

R

L

R

L

œ

R

œ œ

L

R

L

This exercise has “fourlets” in the second, third and fourth bar. These rhythms are notated this way because the exercise is in 8 time (triple time). As a result, a grouping of four is unnatural for this time signature (similar to a triplet in quarter time). Think of these rhythms as four 16th notes played evenly over 3 8th notes or 4:3.

12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 4

R L

L R

R L

L

R etc.

L

R L

L

R

L

R

L

R

L

4

œ œ œ œ œ œ œ œ œ R

R L

R

L

R

R L

R

L

R

L

R

L

R

L

œ œ œ œ œ œ œ œ œ œ œ œ œ.

4

œ œ œ R

R L

L

R

R

L

R

R

L

L

R

L

R

L

R

L

R

4

R

4

L

R

œ œ. L

R

L

R

L

4

œ

L


The Next Level

56

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R

6

L R L R

L

R L R L R L R

3

œ

L

3

6

œœœœ

œ

R L R L

5

L

R

L

R

3

L

7

R

L

R

L

R L R L R L

R

R L R L R L R L

5

L

R

L

R

L

R

7

œœœœœœœ œ œ œ œ œ œ œ œ

R

L

R

L

R

œ

L

œœœœœœœœ œ œ œ

R

L R L R L R L R

L

R

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ 3

RL RL R LRLRL

L R

R L

3

R R

L R

5

R L

R L

3

R L

L R

L R

L R

3

L R

R L

5

L R

L R

L R

6 6 3> 6 3> 6 >>> > > > 44 œœœœœœœ œ œœœœœœœ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œ œœœœ œ œ œ œœœœœœœ œ œ œ œ œœœœ œ œ œ œœœœœœœœœœœœ 6

6

RL RL RL R L R L R L RL

L R

R L

L R

RL LR

R L

R L

L R

R L

L RL R RL RL

L R

R L

L RL R RL R L

R R R L L L

> > > > > > > 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœœœœœœ œœ œ œœ œœ œ œœ œœ œ . œ 6

6

3

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

R L R L R L R L R L

L R

R L

L R

R L

L R

R L

3 6 > > > 6 6 > > >>> 5 > >3 > > 6 > 6 > 6 > 6 > >>6>>> œ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œ œ œ œœœœœ œ œ œ œœœœœ œ œœœœ œœœœœ œœœœœ œ œœœœœ x œœœœœœœ œ œ R L

L R

R L

L R

R L

RL R LRL

L R L R L R

R L

L R

R L

L R

R L RL RL L RL RL R

R L

L R

L R L R L R

L R


The Next Level

57

DIDDLE CONTROL / with Paradiddles This chapter deals with sticking combinations: diddle interpretation, muscle building, roll quality and sound production as it relates to multiple notes on one hand. I have broken down this chapter in the following parts: I.

DIDDLE QUALITY BUILDERS – One handed warm-ups and other diddle strength builders.

II.

ROLL BUILDERS – Ways to build your roll quality and consistency, including Inverted Roll Sticking.

III.

PARADIDDLES – An in depth look at the paradiddle family..

IV.

GRID II – DIDDLE AND ROLL ISOLATION

V.

DIDDLE INTERPRETATION – Interpreting diddles from open to closed.

VI.

MORE PARADIDDLE PRACTICE – Paradiddles and rolls.

VII.

OTHER DRAG RUDIMENTS – Ruffs and Ratamacues.

VIII.

THE NEXT LEVEL – Advanced diddle rudiments (3’s, 123’s, 32 rolls etc.)

I recommend moving through the sections as they are laid out. However, if a student chooses, each section can be worked through independently at any point. Make sure you have studied the One Handed Warm-ups and Two Height Control chapter very thoroughly as the techniques mentioned (Moeller and Velocity) are explained in depth on those pages.

I. DIDDLE QUALITY BUILDERS The exercises in this section focus on strengthening the hands and work individual diddle quality.

VELOCITY: Use the Velocity Stroke to produce “quantized” sounds. Same height, sound, wrist turn, and rebound for every note. Feel the front of the grip for the duration of each exercise.

MOELLER: Use one motion for the multiple notes. Feel the back of the grip and utilize the upstroke and downstroke.

DOUBLE BEAT, DOUBLE BEAT VARIATIONS Double Beat is a standard that works on building diddle strength and quality. Be VERY comfortable with both the velocity AND the Moeller approach by starting slow and REALLY analyzing your motion and sound.

4 œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ .. 4 R L

L R

R L

These variations will also help build your roll quality. Play the accented notes at 12 and unaccented notes at 6. Use a controlled rebound for variation A and inverted motion / Moeller whip for variation B.

A

>

> >

> >

>

> >

> >

> > >

> > >

>

> > > >

> >

> >

> > >

44 œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ 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 L

B

> > >

>

>

L R

> > >

>

>

R L

> > >

44 œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ 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 L

L R

R L


The Next Level

58

Here is a 12/8 version of the double beat exercise. Notice how the diddles feel slightly more open than the 16th interpretation.

12 8 œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ 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 L

R L

Now, apply the same accent variations as used in Double Beat:

>

>

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‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 12 8 œ œ œ œ œ œ œ œ 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 L

R L

SHUPS This exercise applies the 4-2-1 concept to 12/8 diddles. Keep the transitions open with the back to back diddles.

12 œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ .. 8 R L

6 .. œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ .. 9 .. œ œ ‰ œ ‰ œ ‰ œ œ œ œ ‰ œ ‰ œ ‰ œ œ .. 8 8 R L

R

L

TRIPLE BEAT Another standard that deserves repeating. Remember to play all notes at the same height. Practice playing accents on the downbeat of triple beat, then move the accent to the upbeat.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

L R

R L

TRIPLE BEAT VARIATIONS Here is a 15/16 variation for the standard Triple Beat exercise. For the accented variations, play the accented notes at 12 and the unaccented notes at 6. APPLY THE 4-2-1 CONCEPT TO ALL THREE EXERCISES.

15 œ œ œ 16 R

œ œ œ

œ œ œ

œ œ œ œ œ œ L

œ œ œ

œ œ œ

Play this exercise in the same manner you would play Hugga Dicks (refer to page 36 for an explanation).

>

15 œ œ œ 16 R

>

œ œ œ

>

œ œ œ

>

œ œ œ œ œ œ L

Stay relaxed on this variation and work to the accent.

>

15 œ œ œ 16 R

>

œ œ œ

>

œ 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 ..


The Next Level

59

DOUBLE/TRIPLE COMBOS This exercise practices Moeller and Velocity together. Use Moeller on multiple height patterns (hugga-dicks), Velocity on one-height patterns (double beats).

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4 œ œ œ œ œ œ ≈œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 R L

>> >> > >

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>> >

>> >

>>

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>> >

>> >

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ≈ œ œ œ œ œ œ œ œ .. PUTTING THE HANDS TOGETHER Now it is time to put the hands together after the independent practice that has happened thus far. These exercises are very similar to the “filled in” approach in the Two Height Chapter. Apply the skills learned in the one handed exercises previously to create uniform sounds in the following two exercises. Consider this: If someone had their back to you or their eyes closed, they should not be able to tell what sticking you were playing.

STICK CONTROL

4 œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ 4 RL RL RL R L LRL RLRL R

RRRL RRR L LLLRLLLR

RL RL RL R L LRL RLRL R

RL L L RL L L LRRRLRRR

RL RL RL RL LRLRLRLR

œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ RR R R L L L L L L L L R RR R

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

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

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

œœœœœœœœœœœœœœœœ œ œœ œ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œœ œœ œœ œ RRRL RRRL RL L L RL L L L etc.

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

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

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

DIDDLE 3’s, DIDDLE 4’s

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 78 œ œ œ œ 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 R L L R R R R L L R R L L LL

R R R R L L R R LL L L R R LL

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

R R R L L R R L LL R R L L

QUALITY BUILDERS REVIEW All of the exercises in the previous section help with general control and strength of diddles. For many of the one handed exercises, repeat several times on one hand to “work out” and build your muscles. Don’t forget to warm down when done. A few other ways to practice the exercises in this section are: Accent the first note on each hand, accent the last note on each hand, apply the 4-2-1 accent grid to each exercise and experiment with different heights all around.


The Next Level

60

II. ROLL BUILDERS All of the exercises in the first section had to do with individual diddle quality. Now it is time to apply this knowledge to playing a roll. We will cover standard roll sticking, inverted roll sticking, triplet and 16th based rolls. First, let’s do a standard “break down” of a double stroke roll. The ability to play doubles at ANY tempo and accelerate or retard smoothly is a MUST in order to proceed any further in this book. BE HONEST WITH YOURSELF and make sure you can play the exercise below at EVERY tempo marked! 60-160

60-160

60-160

60-208

.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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

R

L

L

R

R

L

L

R R L L R R L L

R R L L R R L L

RRL L RRL L

16th ROLL BUILD UP The following two exercises isolate the hand motion and diddle placement of each hand. Keep your hands in a consistent motion from the check to the diddles and listen for evenness of sound throughout (tap hum).

44 œ œ œ œ 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 L

L R

R L

L R

R

L etc.

R

L

R

R

L

R

R

L

R R

L

R

R

L

R

L

R

L

R

L

R

L

œ œœœ œœœ œœœ œœ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ R

L L

R

L L

R

L L R

L

L

R

L

R

L

R

L

R

L

R R L

L R R L L

R R L L R R L L

Use beat three in measures 2, 4 and 6 to “check” yourself.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ œ! œ œ! œ œ! œ 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 L R L R L R L L R L R L R L R

etc. etc.

œ œ! œ œ! œ œ! œ œ! œ œ œ œ œ œ! œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! TRIPLET ROLL BUILD UP Apply the same build up concept in triple time.

68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

R

L

R

L

R R L

L R L R L R

R R L R R L

R L L R L L R L L

RRL LRRLLRRLL

etc.

! ! ! ! ! ! !!! ! !!! ! 12 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R

L

R

L

R

L

etc.

L R

L

R

L

R

etc.

œ! œ! œ! œ! œ! œ œ! œ! œ! œ! œ! œ

œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!


The Next Level

61

ONE & ONE, TWO & TWO, FOUR & FOUR The following exercises work on short roll quality. Play the check at the same height as the roll and realize there are no accents. Play with doubles on the check and singles (see the first bar of one & one’s). Experiment with different combinations to come up with your own ideas!

1 and 1

44 œ œ œ œ œ! œ! œ! œ! 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 L R L

L R R L

R L L R

L R L R

R L

etc. etc. L R

R L

L R

etc. etc.

2 and 2

44 œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ!

4 and 4

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!

Now in 6/8 time. Notated is the 1 and 1, but practice 2's and 4's as well.

6 œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! 8 R L R L

L R R L

R L L R

L R L R

R L R L

L etc. R etc. R L R L R L R L R L R L R L

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

etc. etc.

PRACTICE PLAYING A ROLL FOR 2-5 MINUTES WITHOUT STOPPING! REMEMBER TO WARM DOWN AND STRETCH OUT YOUR HANDS AFTER PLAYING EXTENDED ROLLS.

INVERTED ROLL STICKING “Inverted Roll Sticking” refers to moving (displacing) the diddle of a roll over one note. This will cause the roll sticking to be: “R-L-L-R-R” etc. Playing inverted roll sticking helps strengthen the quality of diddles and the timing of rolls.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L R L R L L R R L L R L R L R L R R L L R R L

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

etc.

16th ALTERNATING INVERTED ROLLS

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L L R R L L R R L L R R L L R L R R L L R R L L R R L L R R L

etc. etc.

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

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. L

R

R

L

L

R

R

L

L

R

R

L

L

R

R

L

R

L

L

R

R

L

L

R

L

R

R

L

L

R

R

L

ROLL BASED REVIEW For all of the roll based diddle control exercises, think in terms of fluid hand motion and even sound. If two heights are involved, be sure to have distinct heights from accent to tap. For one height exercises, strive for a very consistent sound on every note regardless of the technique that is used.


The Next Level

62

III. PARADIDDLES This section deals with the Paradiddle family and many of the standard variations. Apply all of the skills learned in the sections before to make sure the diddles and taps are full and open. When using Moeller, think of the upstroke or pullout note as the note/hand that plays before the accent. When using Velocity, think of all wrist all the time and full double beats for the diddles.

SINGLE PARADIDDLE On each of these “rudimental buildups”, work on each measure at a consistent tempo, starting at m.m.=60 (for a minimum of 15 minutes), increasing the tempo 10 bpm each time until you eventually arrive at m.m.=120. 120 then becomes the new tempo for the next measure (m.m.=60), etc., until you get to the final measure.

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.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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

L

R

R

L

R

L

L

R L R R L R L L

R L R R L R L L

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

PARADIDDLE BUILD UP:

A good way to practice certain rudiments is to isolate one hand and “build up” the rudiment by adding one note at a time in the opposite hand. Keep the lead hand consistent, practicing with and without accents – m.m.=60-208.

j> j > j> j > > > > > > > > 44 œ œ œ ≈ œ . œ œ œ ≈ œ . œ œ œ œ ≈ œ . œ œ œ œ ≈ œ . œ œ œ œ 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 R R L L L

R L

R R R L L L

R L

R L R R L R L L

R L

R L R R L R L L

R L

R L R R LR L R L L RL

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>

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

>

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

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>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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

RRL

LLR

RRL

LL

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

INVERTED PARADIDDLE

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>

etc.

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.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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 L L R L R R L INVERTED PARADIDDLE BUILD UP: Keep the lead hand consistent and practice with and without accents.

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44 œ. œ ≈ œ œ œ. œ ≈ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ 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 L

R L

R R R L L L

R L

R R L L

R L

R L R R L R L L

SINGLE MILLS (DIDDLE PARA’S)

>

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R L

R L R R L R L L

R L

>

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

>

R L R R L L R L L R

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

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>

>

.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. 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

R

L

>

R

L

j>

L

R

L

R R L R L L R L

j

>

j>

R R L R L L R L

SINGLE MILL BUILD UP

j

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

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4 œœ œ‰ œ œœ œ‰ œ œœœœ‰ œ œœœœ‰ œ œœœœœœœ œœœœœœœ œœœœœœœœœœœœœœœœ 4 R R L L

R L

R L

R R L L

R L

R L

R R L R L L R L

R L

R R L R L L R L

R L

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

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

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


The Next Level

63

DOUBLE PARADIDDLE Practice with two accents (as notated), one accent (beginning of each double paradiddle), and without accents.

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46 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œœœœ œœ œ œœœ œœ œœœœ œœ œœ œ .. R L

L R

R L

L R

>

R L

R L

L R

>

R L

L R

R L

>

L R

L R

DOUBLE PARADIDDLE BUILD UP:

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RRL RL

L L RL R

RRL RL

12 8 œ œ œœœ œ œœœ œ œœœ œ œœ œ œœ œœœ œœ œœœ œœ œœœ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œœ œœ œœ œœ œœ œ R L

R L

RRL L L L R LL etc.

R

RRL

L

LL RL R

LL RLRLRRLRLRLLRLRLRRLRLRLL

TRIPLE PARADIDDLE

> >

>

> >

>

> > >

R L R L L R L R

R L R R L R L L

L R L R R L R L

L R L L R L R R

> > >

>>>

>>>

Practice with three accents (as notated), one accent (beginning of each triple paradiddle), and without accents.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œœ œœ œœœœ œœ œœ œœœ .. >

>

TRIPLE PARADIDDLE BUILD UP:

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44 œ œ œ œœœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

R L

R L

RRL LLR

L R

L R

LL RL R RR etc.

R

R R L R L

PARADIDDLE-DIDDLE

>

>

L

L L

RLRLR

>

RRLRLRL

>

LL

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

>

>

>

>

46 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œœœœœœ œœœœœœ œœœœœœ œœœœœ .. R L

L R

R L

R L

L R

L R

R L

L R

R L

R L

L R

L R

PARADIDDLE-DIDDLE BUILD UP: This exercise is building up paradiddle diddles. Notice the first and second bar: the note added in the second bar comes in before the 8th note that was already there. Practice with and without accents.

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R R L L

R L

>

>

>3

>3

>

>

R L

R L

R L R R L R L L

>

>

44 œ œ œ œ œ œ œ œ œ œ 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 L

R R L L

R R L L

3

3

R L R R L R L L

6

6

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

PARADIDDLE PYRAMID Apply all of the breakdowns and build-ups from above to these exercises. Play Inverted Paradiddles or Single Mills in the place of the paradiddle and paradiddle diddles in place of the double paradiddle. Practice with all accents notated, one per rudiment and all at one height (play at ALL heights!).

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> >

> > >

> > >

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R L R R L R L L L R L L R L R R

> > >

> > >

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

> >

> >

> >

> >

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

>

>

>

>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R L R L R R L R L R L L L R L R L L R L R L R R

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


The Next Level

64

MOVING ACCENTS AROUND PARADIDDLES PARADIDDLE

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>> >>

>>

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> > >> >> > > >> >> >>> >> > > >> >>>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ RL RRL RL L L RL L RL RR

RL L R

INVERTED PARADIDDLE

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L R RL

>

R L

> >

RRL L L R

L L RR

L RR RL L

RL L L RR

>>

>

>>

>>

>>> >>>

>>> >>>

>>

>

>>

>>

>>> >>>

>>> >>>

>>

>>

>>

>>

>>>

>>>

>>>

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L L R L R R L L R R L R L L R

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

SINGLE MILL

>

>

>

etc. etc.

> >

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 R L R L L R L L L R L R R L R

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

DOUBLE PARADIDDLE

>

>

>

etc. etc.

>

>>

>>

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>>

12 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœ œ œœ œœœœ œœ œœœœ œœ œœœœ œœ œœœ RL RL RRL RL RL L LRL RL L RL RL RR

etc. etc.

> > > > > > > >

>

> > >> > > >> > > >> > > >> > >

œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œœ œœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œ œœœ œ œ œ œœœ œ œ œ œœœ œ œ œ œœœ œ PARADIDDLE-DIDDLE

>

>

>

>

>>

>>

>>

>>

> > > > >> > > > > > >

12 8 œ œœœœœœ œœœœœœ œœœœœœ œœœœœ œ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœ œ œœ œ œœœ œœ œ œœœ œœ œ œœœ œœ œ œœ >

RL RRLL RL RRL L LRL L RRL RL LRR

>>>

>>>

>>>

> > > > > > > > > > > > > > > > > > > > > > >> > > >> > > >> > > >> > >

œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œœœ œ œ œ œœœ œ œ œ œœœ œ œ œ œœœ œ TRIPLE PARADIDDLE

>

>

>>

>>

> >

> >

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >

RL RL RL RRL RL RL RL L L RL RL RL L RL RL RL RR

>

>

>

>

>>>

>> >>

>>>>

>> > > > >>> > > >>

œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ


The Next Level

65

LEAD IN ACCENTS

>

>

>

Use this exercise to stay relaxed leading into an accent and the taps that follow.

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 45 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46 R L

L R

>

R L

R L

L R

R L

L R

>

L R

>

R L

>

R L

>

L R

R L

R L

L R

L R

R L

>

L R

L R

>

>

46 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ 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 R R L R R L L L R L L L L L R L L R R R L R R

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

PARADIDDLE, INVERTED PARADIDDLE AND MILL GRID The following exercise moves accents through Paradiddles, Inverted Paradiddles and Mills. Play with very strict two heights and keep the rhythm very exact regardless of stickings or accents. Practice using the 4-2-1 concept.

>

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>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L R L R L

>

L R L R R L

R L L R L R

R L R L R L

>

L R L R L R

R L R L L R

L R R L R L

L R L R L R

>

etc. etc. etc. etc. etc. etc.

>

>

>

>

>

>

>

>

>>

>

>

>

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

7/8 PARADIDDLE AND VARIATIONS

Practice this exercise with the sticking written and try mills or inverted paradiddles in place of the paradiddles – and double paradiddles in place of the paradiddle diddle.

78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ 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 L L R L L R L R R L R L L R R

1)

4)

RLRRLLRL RRL RL L L RL L RRL RLL RL RR

Don’t forget the variations:

>

>

>

2)

>>

>>

>>

5)

>

>

>

3)

RLRRLLRLRRLRLLRL RR L RLL

>>

>>

>>>>

œœ œœ œœ œ œœ œœ œœ œ œœœœœœœœœœœœœœ œœœœœœœœœœœœœœ > >>> >>> >>>>

6)

>>> >>> >>>>>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ œœœœœœœœœœœœœœ

PARADIDDLE TIMING Use a metronome on this one to keep yourself honest! Keep fluid hand motion and the same pressure in the grip regardless of the meter of the rhythms. Experiment with different accent placement.

4 œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ 4 3

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

3

3

3

3

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

3

3

3

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

3

3

3

3

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

3

3

3

3

œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ R R L R L L R L L L R L R R L R

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

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

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


The Next Level

66

Pu-du-das and Paradiddles The pu-du-da is the name for the sticking “RLL” or “LRR”. The rudiment sounds like the name: “puh-duh-duh”. The following exercises deal with the pu-du-da sticking and different paradiddle combinations. Experiment with Moeller and Velocity. Use a small whip for upbeat accents and upstrokes when practicing Moeller and full double beats with wrist when using Velocity. Practice with and without accents as well.

> > > > >

> > > > >

> >

> >

> >> >> >> >

44 œ œœœ œœœ œœœ œœœ œœœ œ œœœ œœœ œ œœ œ œœ œœœ œ œœœ œœœœœ œœœ œœœœ ‘ œ œœœ œ œœœ œ œœœ œ œœœ RLL RLL RL LRL LRL RR L RRL RRL RRL RRL RL L LRRLRRLRRLRRLRLL etc.

>

>

>

RLLRLLRRLRRLRRLL

>

>

RLLRLRRLRLLRLRRL

>

>

>

12 8 œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ R L L R L L R L L R L L R L L R L L R L R L R R L R R L R R etc.

>

>

>

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

>

>

>

>

>

œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ R L L R L L R L R L R R L R R L R R L R L R L L

>

>

>

>

>

>

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

> >

> >

> >

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ œœœ œœ œ œœ œœœ œœœœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R L R L L L R L L R L R R

etc. etc.

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

SWISS PARADIDDLES Swiss sticking generally refers to the sticking RRL or LLR. This could also be considered an “Inverted Pu-du-da.” When using Moeller, pulse the diddles (allow the first beat to be a little louder than the second). When using Velocity, both notes of the diddle should be the same height and intensity. Keep the same pressure in the grip to have open doubles and single notes. Practice with and without accents.

>> >> > > >> >

>> > > > > > > >

>> > >

>> > >

>> >> >> >>

44 œ œ œœ œ œœ œ œœ œ œœ œœœ œ œ œœ œ œœ œ œœ œ œœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ œ œ œ œœ œ œœ œ œ œ œœ œ œœ RRLRRLRRLRRLRLRR LL RL L RL L RL L RL RL L RR L R RL R R L L R L L R L L L L R L L R L L R L L R L R L L etc.

>>

>>

>>

>>

>>

>>

RRLRLLRLRRLRLLRL

>>

>>

12 8 œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ >>

R R L R R L R R L R R L R R L R R L R R L R L R L L R L L R etc.

>>

>>

>>

>>

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

>>

>>

>>

œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ R R L R R L R R L R L R L L R L L R L L R L R L

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

PARADIDDLE REVIEW Remember that every rudiment in the Paradiddle family is based upon the single paradiddle. Every other rudiment is some sort of variation on R-L-R-R or L-R-L-L. Make sure that you can play every exercise in the previous section with and without accents!


The Next Level

67

IV. GRID TWO: DIDDLE AND ROLL ISOLATION The first group of exercises deal with isolating 16th note and triplet based rolls. Strive for mathematically correct interpretation of the diddles.

16th BASED DIDDLE AND ROLL ISOLATION Examine the chart below for all 16th note diddle permutations.

œ!

œ

œ

œ

œ

œ!

œ

œ

œ

œ

œ!

œ

œ

œ

œ

œ!

œ!

œ!

œ

œ

œ

œ!

œ!

œ

œ

œ

œ!

œ!

œ!

œ

œ

œ!

œ!

œ!

œ!

œ

œ

œ!

œ!

œ!

œ!

œ

œ!

œ!

œ!

œ!

œ

œ!

Here are some examples of exercises created from the above permutations:

24 œ œ œ œ œ œ œ œ œ! œ œ œ œ! œ œ œ 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 L

L R

R L

L R

etc. etc.

!! !! !! !! !! !! ! !! ! 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

L R

R L

L R

etc. etc.

24 œ œ œ œ œ œ œ œ œ! œ! œ! œ œ! œ! œ! œ 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 L

L R

R L

L R

etc. etc.

TRIPLET BASED DIDDLE AND ROLL ISOLATION

œ!

œ

œ

œ

œ!

œ

œ

œ

œ!

œ!

œ!

œ

œ

œ!

œ!

œ!

œ

œ!

Here are a few ways to practice the above combinations:

68 œ œ œ œ œ œ œ!œ œ œ!œ œ œ œ œ œ œ œ œ œ!œ œ œ!œ œ œ œ œ œ œ œ œ œ!œ œ œ! œ œ œ œ œ œ œ!œ œ œ œ!œ œ œ œ!œ!œ œ œ œ!œ œ œ œ! RL RL RL L RL RL R

etc. etc.

RL RL RL L RL RL R

etc. etc.

68 œ œ œ œ œ œ œ!œ!œ œ!œ!œ œ œ œ œ œ œ œ œ!œ!œ œ!œ! œ œ œ œ œ œ œ!œ œ!œ!œ œ! œ œ œ œ œ œ œ!œ!œ œ œ!œ! œ!œ œ!œ!œ!œ œ œ!œ!œ!œ œ!


The Next Level

68

TWO HEIGHT DRAG & ROLL RUDIMENTS Many of the rudiments that you will see below are similar to what was done in the previous section. Break down each rudiment starting at m.m.=60, perfecting the strokes before moving the metronome faster.

>

LESSON 25

44

œ œ L L R R

œ œ ˙ R L

L R

œ œ

R L

R R L L

TAP DRAGS

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L R

L R

>

L R

R L

L R

>

L R

DOUBLE DRAG

>

R L

R 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 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 œ œ œ œ œ œ ..

œ œ ˙

>

68 œ œ œ œ R L

>

L R

>

>

>

>

>

54 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ 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 L

L L R R R L

L L R R R L

L R

R R L L L R

R R L L L R

5 STROKE ROLL – DUPLE BASED

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44 œ œ œ œ ˙

>

L L R R L R R L L R

5 STROKE ROLL – TRIPLE BASED

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>

>

>

.. .. œ œ œ œ œ œ œ œ œ œ .. .. œ! œ! œ œ! œ! œ œ! œ! œ œ! œ! œ ..

œœœœ˙

R R L L R L L R R L

>

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>

>

>

>

>

>

68 œ œ œ œ œ œ œ œ 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 L

L R

L R

R L

R L

L R

R L

R L

L R

L R

6 STROKE ROLL The 6 Stroke Roll can be played either straight alternated sticking or “hand to hand” (as notated below).

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L L

R L

>

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>>

>

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>>

>>

>>

>

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>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ 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 R

L L

L L

R R

R R

L R

L R

R L

R L

L R

7 STROKE ROLL – DUPLE BASED

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>

>

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œœ œœ œœ œ œœ œœ œœ .. .. œ œ! œ! œ! œ œ! œ! œ! œ œ@. œ œ@. .. 4 R L

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

R L

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

7 STROKE ROLL – TRIPLE BASED

>

44 ˙

R L

3

3

>

œœœœœœ ˙ L L R R L L R R L L R R

R 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@ 7 œ œ@ 7 .. 3

3

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

3

3

3

3


The Next Level

69

Below I have listed the common 16th diddle / accent permutations. Apply the 4-2-1 concept to each of the patterns. If practiced leading with both hands, these “grids” will cover Tap Drags/Lesson 25’s, 5, 6 and 7 stroke rolls.

>

>

>

>

>>

>>

>>

>>

>>> >>> >>> >>>

>

>

>

>

>>

>>

>>

>>

>>> >>> >>> >>>

>

>

>

>

>>

>>

>>

>>

>>> >>> >>> >>>

œ!

>

œ!

œ

œ!

œ!

œ!

œ! œ œ œ œ œ! œ œ œ œ œ! œ œ œ œ œ! œ! œ œ œ œ œ! œ œ œ œ œ! œ œ œ œ œ! œ! œ œ œ œ œ! œ œ œ œ œ! œ œ œ œ œ! œ! œ! œ œ œ œ! œ! œ œ œ œ! œ! œ! œ œ œ! œ! œ! œ œ œ œ! œ! œ œ œ œ! œ! œ! œ œ œ! œ! œ! œ œ œ œ! œ! œ œ œ œ! œ! œ! œ œ! œ œ! œ œ œ œ œ! œ œ œ œ œ! œ œ œ œ œ! œ! œ! œ œ œ œ! œ! œ œ œ œ! œ! œ! œ œ œ! œ! œ! œ! œ œ œ! œ! œ! œ! œ œ! œ! œ! œ! œ œ! Now the triplet permutations:

>

œ!

œ

œ!

œ!

>

œ œ

>

œ

>

œ

>

œ!

œ

œ

œ!

œ!

>

œ!

œ œ

>

> >

œ œ

>

œ

>

œ

>

>

>

œ!

œ

œ

œ

œ!

œ!

>

>

>

œ!

œ

œ! œ!

Practice each of the above using the 4-2-1 concept!

DIDDLE AND ROLL ISOLATION REVIEW Take your time to be sure you truly understand the heights and motions involved with these rudiments. Eventually many of the hybrid rudiments that we’ll learn later will be based upon the rudiments you’ve learned here.


The Next Level

70

V. DIDDLE INTERPRETATION Depending on the style of music being played, there is often a need to be able to interpret diddles in many ways. I feel that “mathematically correct” is the easiest way to interpret diddles (meaning that the diddle is exactly twice the speed of the note it is based on. Example: a 32nd note diddle is exactly twice as fast as a 16th note). Mathematically correct is what I am referring to when I say “correct interpretation”. All other interpretations (open/slurred or strict/closed) are based on correct interpretation.

TAP TIMING DIDDLES Use the next two exercises to practice 16th diddle quality and hand motion.

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R R L L L R

R R L L L R

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> >

>

R L

L L R R R L

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>

L R R R L L

L R

>

> >

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ >

>>

>

>

L L R R

> >

R R L L

>

>>

RL L L RR

> >

>>

RL L L RR

> >

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ≈ œ œ œ .. .. œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ .. • Timing and hand motion are very important for this exercise.

• Use a metronome to make sure that all of the notes line up with straight 16ths. • 1st and 2nd bars should feel like a roll motion; 3rd and 4th should feel like an inverted roll motion. • Keep the diddles open on the transitions.

ISOLATED DIDDLE INTERPRETATION Use this exercise to practice 16th (mathematically correct) diddle interp and triplet (slurred) diddle interp. Practice with and without accents as well.

>

>

R R L L L R

R R L L L R

>

>

>

>

>

> >

>

R L

L L R R R L

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >

>

>

3

3

3

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

> >

>

>

>

3

L L R R

>

>>

>

3

3

3

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

>

>>

>

3

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 3

3

3

3

3

3

3

3

STRAIGHT AND SWUNG DIDDLES

Here I put straight and swung diddles back to back. Work to feel the swung diddles as a similar motion to a straight roll.

44 œ

R L

j

3

œ

R L

œ

L R

œ

L R

œ

œ

R L

œ

R L

L R

œ

œ

L R

3

œ

R L

œ

R L

j

œ

L R

L R

3

œ

j

œ

R L

R L

3

œ

j

œ

L R

L R

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

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

R L

6

6

R L L R

6

L R R L

R L L R

6

6

6

6

6

L R

6

6

6

œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œœ œ Apply the 1, 2 and 3 note accent grids to the above exercise for an almost infinite number of new exercises!


The Next Level

71

EXPERIMENTING WITH EXTREMES OF DRAG, DIDDLE AND ROLL INTERPRETATION The exercises in this section explore the extremes of diddle interpretation and then apply that knowledge in isolation and consistency practice. For all of the groupings, I have explored Open; Mathematically Correct; and Over Strict. By practicing each extreme and also the correct interpretation, one can learn how to adjust their own diddle interpretation to match what is being played in a group/line setting or to fit a different style of music. The isolation exercises that follow each of the interpretation exercises should be used to apply the knowledge gained and produce consistent diddles interpretation from hand to hand. All of the following exercises should be played with a “check” pattern between each measure. DOWNBEAT DIDDLES

>

>

>

>

>>

>>

>>

>>

OPEN / SLURRED

>

>

CORRECT 3 3

>

>

>

>

>

>

RL R

L RL

>

>

>

>

>

>

>

RLR LRL

LRL RLR

STRICT

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ œ œ! œ œ œ! œ œ œ! œ œ œ!œ œ œ!œ œ œ!œ œ œ!œ œ 3

3

R L R L R L

>

>

3

>

3

R R L R L L R L

>

>

>

>

R L R L R L

>

>

>

3

>

3

>

>

! œ œ œ œ œ œ! œ œ œ œ œ œ œ œ œ! œ œ œ œ œ œ! œ œ œ! œ œ œ! œ œ œ! œ œ œ! œ œ 12 œ œ œ œ œ œ œ œ œ œ œ œ œ 8 R L R L R L L R L R L R

etc. etc.

DOWNBEAT 5 STROKE ROLLS

>

>

>

>

>>

>>

OPEN / SLURRED 5 5

>> 5 >> 5

>

>

>

CORRECT 3 3

>

STRICT

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ œ! œ! œ œ! œ! œ œ! œ! œ œ!œ!œ œ!œ!œ œ!œ!œ œ!œ!œ 3

3

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

>

>

3

>

3

RRLL RL L RRL L L RRL RRLL R

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>

>

>

>

>

>

>

>

3

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

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>

3

>

>

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>

>

>

>

>

>

R L

L RL RLR

>

>

>

>

>

>

!! !! !! !! !! !! !! !! 12 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R L R L R L L R L R L R

TAP DRAGS

>

>

etc. etc.

>

>

>

OPEN / SLURRED

>

>

CORRECT 3 3

>

>

STRICT

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ!œ œ œ!œ œ œ!œ œ œ!œ œ œ!œ œ œ!œ œ œ!œ œ œ!œ 3

3

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

>

>

3

etc. etc.

>

3

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

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>

>

>

>

>

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

>

3

>

3

>

>

>

RL LR

! ! ! ! ! ! ! ! 12 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R L R L R L L R L R L R

etc. etc.

TAP 5 STROKE ROLLS

>

>

>

>

>

>

OPEN / SLURRED 5 5

>

>

>

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CORRECT 3 3

>

>

>

R L

LRL RLR

STRICT

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ œ! œ! œ œ! œ! œ œ! œ! œ œ!œ!œ œ!œ!œ œ!œ!œ œ!œ! 3

3

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

>

>

3

>

3

>

RL L RRL RRL L L RRL L RL L RR

>

>

>

5

5

>

>

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

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>

3

>

3

>

>

RL LR

!! !! !! !! !! !! !! !! 12 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R L R L R L L R L R L R

etc. etc.


The Next Level

72 SIX STROKE ROLLS – Practice with “hand to hand” 6 Stroke Rolls as well.

>

> >

> >

> >

> >

>>

OPEN / SLURRED 6

>>

>>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

L R

R L

L R

> >

CORRECT

R L

L R

R L

L R

> >

L R

R L

L R

R L

>

L R

R L

> >

> >

STRICT

L R

>

R L

>

SEVEN STROKE ROLLS

6

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

œ œ! œ! œ œ œ! œ! œ œ œ@ œ œ œ@ œ œ R L

6

>

>>

œ! œ! œ œ 3

L R L R R L R L

>

>>

œ! œ! œ œ 3

L R L R L R

>

OPEN / SLURRED 7

>>

œ! œ! œ œ 3

6

>

>

œ! œ! œ 3

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

L R

R L

L R

CORRECT

R L

>

L R

R L

L R

>

>

œ œ! œ! œ! œ œ! œ! œ! œ œ@. R L

L R

R L

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

>

STRICT

œ œ@.

L R

œ

R L

7

>

œ! œ! œ! œ 3

7

>

œ! œ! œ! œ 3

L R L R R L R L

œ@

L R L R L R

7

>

œ@

œ

7

7

SEXTUPLET DIDDLE STICKING Try to feel these exercises two different ways: 1) like you are playing triplet rolls, or 2) like you are trying to match (and feel) the single sticking patterns (rlrl etc.). The diddle speed is the same regardless of notation!

44 œ œ œœœœœœœ œ œœœœœœ œ œ œ œ œœœœœœœœœœœœ œ!œ!œ!œ œ œ!œ!œ!œ œ œ!œ!œ!œ!œ!œ!œ œ œ œ 6

R L

L R

6

RRL L RRL L L RRL L R

R L

6

L L RRL L R RRL L RR

L etc.

R

L

6

3

3

RRL L R RL L RRL L R L R L

R

3

L R L R

L

3

R L R L R L R

L

R

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R

R

3

L

L

R R L L

6

L R

L R

R

R

L

3

L

R

R

L

L

3

R R

L

L

3

R

R

L L R R

6

R L

R L

L

L

R

3

R

L

L

R

R

L

L

INVERTED SEXTUPLET ROLLS Here are inverted rolls in sextuplet form. Stay relaxed and think of “slurring” the diddles so that there is no space from the single note to the double. Practice all one height and with the accents notated.

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>>

>

>>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

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

>

R L

>>

6

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

>

>>

>

>>

6

>>

6

>>

6

œœœœœœœœœœœœœœœœœœœ

L R

> >

>>

>

>>

..

œ

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

R L

>

>

12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 R L L R R L L R R L L R L L R R L L R L L R R L L R R L L R R etc.

>

>>

>

>>

>>>>>> >

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

>>

>

>>

>>>>>>

œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ R L L R R L L R R L L R L L R R L L R R L L R R

>

> >

>

> >

>

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

> >

> >

>

> >

>

>

44 œ œ! œ! œ œ œ! œ! œ 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 L

L R

R L

L R

L R

R L

L R

R L

L

R etc.

R

L

R

L

R

L

L

R

L

R

R

L

R

L

R

L

L

R

L

R

L

R


The Next Level

73

VI. MORE PARADIDDLE PRACTICE FEELING PARADIDDLES WITHIN ROLLS The following exercises focus on being able to fit a paradiddle (or a variation of a paradiddle) within a long roll. Practice one height and with the accents notated. Feel the diddles of the paradiddles the same as the diddles in the long roll, regardless of the technique used. PARADIDDLE 5’s The Paradiddle 5 is a great rudiment that can help even out your paradiddles and feel the “roll motion”. Work through the breakdown below before going on to the exercises in this section.

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>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œœœœœœœœ œœœœœœœ .. R L R R L R L L

>

L L R R R R L L

L R L L R L R R

R R L L L L R R

>

>

>

R L R L R L R L R

L R L R L R L R L

44 œ œ œ! œ!œ! œ!œ! œ! œ! œ! œ! œ! œ! œ!œ! œ! œ! œ œ œ!œ! œ!œ! œ!œ! œ! œ! œ! 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 L R L R L R L R L R L R L R L R L

>

L R L R L R L R etc.

>

L R L R L R L R L

>

>

>

R L R L R L R 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 œ œ!œ œ 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 L R L R L R L R L

>

R L R L R L R L R L

>

>

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

>

>

R L R L R L R L R L R

>

>

L R L R L R L R L

>

>

>

>

44 œ œ œ! œ! œ! œ œ œ! œ! œ! œ œ œ! œ! œ œ œ! œ! œ 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 L L R

R L R L R L R L R

>

L etc.

R L

>

R L R L R L R L R 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 L R

L R L

R

œ œ œ! œ! œ! œ œ œ! œ! œ! œ œ œ! œ! œ œ œ! œ! œ œ œ! œ œ œ! œ! œ! œ œ œ! œ! œ! œ œ œ! œ œ œ! œ! œ! œ! œ! L R

L

R

L

R L R

L

R

L R

L R

L R

L R

L R

L

R L R

L

R

L R L

R

L

L

R

L

DOUBLE PARADIDDLE / TRIPLET ROLL – Experiment with the roll at accent height and tap height.

6 œ œ œ œ œ œ œ! œ! œ! œ œ œ œ œ œ œ! œ! œ! œ œ œ œ œ œ œ œ œ œ œ œ 9 œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! .. 8 8 R L R L R R L L R L R L L R

>

R L

L R

R L R L R R L etc.

R

L

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

RL R L R R L

Try all of the following variations for the double paradiddle:

>

>

>

>> >>

> >

>

>

R

>

L

R

L

R

> > >>>>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

1)

2)

3)

4)

5)

6)

7)

8)

9)

10)

PARADIDDLE-DIDDLE / TRIPLET ROLL – Experiment with the roll at accent height and tap height.

68 œ œ œ œ œ œ œ! œ! œ! œ œ œ œ œ œ 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 L R R L L R L R L L R R L

>

L R

R L

>

L R L L R R L etc.

R

> >

L

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

> > > >

R L R R L L R

Try all of the following variations for the double paradiddle:

L

R

>>>>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

1)

2)

3)

4)

5)

6)


The Next Level

74

PARADIDDLE “HYBRIDS” (DRAG AND TAP–DRAG PARADIDDLES) Again, apply the same breakdown to these rudiments as you have on the previous ones.

>

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DRAG PARADIDDLE #1

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>

> >

> >

> >

>

>

>

> >

46 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œœ œ œ œœœœ œ œ œ œœœœ œ œ œ œœœœ œ œ œ œœœ .. R L L R L R R L R R L R L L

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

DRAGADIDDLE

>>

>>

>>

>>

>

44 œ œ œ œ œ œ œ œ œ œ .. .. œ œ 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 R L L L R

R L

R L

L L R R R L

L R

L R

TAP DRAG PARADIDDLE

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ .. .. œ œ 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 L

L R

L R

R L

R L

FIVEADIDDLE

>>

L R

R L

R L

L R

L R

>>

>>

>>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ 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 R L L R L L R R L

R L

L L R R L R R L L R

L R

7/8 PARADIDDLE AND VARIATIONS Here are some more variations to 7/8 Paradiddle which incorporate many paradiddle hybrids such as dragadiddle and drag paradiddle number one.

78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ 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 L L R L L R L R R L R L L R R

>

>

>

RLRRLLRL RRL RL L L RL L RRL RLL RL RR

>

>

Apply the variations below:

>

>

>

>

RLRRLLRLRRLRLLRL RR L RLL

>

>

>

œ!œ œ œ œ!œ œ œ œ!œ œ œ œ œ œ œ!œ œ œ œ! œ œ œ œ!œ œ œ œ œ!œ œ œ œ!œ œ œ œ!œ œ œ œ œ œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ œ

1)

2)

3)

4)

DIDDLE AROUND PARAS Play the diddles open and hold back the single notes.

44 œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ!œ! œ!œ œ œ!œ!œ œ œ!œ!œ œ œ!œ!œ œ œ! RL RRL RL L L RL L RL RR

RL RL L RL R L RL RRL RL

RRL RL L RL L L RL RRL R

RL L RL RRL L RRL RL L R

œ!œ!œ œ œ!œ!œ œ œ œ!œ!œ œ œ!œ!œ œ œ œ!œ!œ œ œ!œ!œ!œ œ œ!œ!œ œ œ! œ!œ!œ œ œ œ!œ!œ œ œ œ!œ!œ!œ œ œ! œ!œ!œ œ œ œ!œ!œ œ œ œ!œ!œ!œ œ œ! RL RRL RL L RL RL L RL R L etc.

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

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


The Next Level

75

VII. RUFF’s AND RATAMACUES THE ALTERNATING RUFF The alternating ruff is similar to a paradiddle without the single note or the “E.” There is a slight inverted motion to this rudiment: it should feel like the inverted roll or the accented second note of diddles. Think of these rudiments as such and they should come to you a little easier.

44 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. L LR RRL L L R RL L L

R

R

R RL

R RL L LR

PARADIDDLE RUFFS

>

44 œ œ œ

R

œœ

>

œ

œœ

L

>

œ

œœ

R

>

œ

œœ

L

>

œ

œœ

R

>

œ

œœ

R

>

œ

œœ

L

>

œ

œœ

L

>

œ

œœ

R

>

œ

œœ

L

>

œ

œœ

R

>

œ

œœ

R

>

œ

œœ

L

>

œ

œœ

R

>

œ

œœ

L

>

œ

L

For the next exercise, keep the diddles open and stay relaxed. At faster tempos, it is okay to allow the diddles to “drop in”. Practice all one height and with the accents notated.

>

>

R L

R R L L L R

>

>

>

>

>3

>

>

>3

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ œ! œ œ! œ œ! œ œ! œ œ! œ œ œ œ œ œ œ œ œ œ œ œ L L R R

> > > > > > > >

>

R L

3

R L

>

L R

L R

>

R L

R L

L R

>

3

L R

R L

R L

L R

L R

> > 6 > > > 6 > > >6 > > > 6 >

œ œ! œ œ! œ œ! œ œ! œ œ! œ œ! œ œ! œ œ! œ œ œ œ œ œ œ œ œ œ œ œ 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 R L L R R L L L L R R L L R R

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

MORE 7/8 PARADIDDLE VARIATIONS Realize that you are playing ruffs when diddling the last note of a paradiddle. Apply the “Grid” of accent patterns to the first two exercises.

>

>

>

>

>

>

>

>

>

>

>

>

>

78 œ!œ œ œ!œ!œ œ œ!œ!œ œ œ!œ œ! œ!œ œ œ!œ!œ œ œ!œ!œœ œ!œ œ! œ!œ œ œ!œ œ!œ!œ œ œ!œ!œ œ œ! 98 œ!œ 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 L L R L L R L R R L R L L R R

>

>

>

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

>

>

>

>

>

>

RL RR L RL L

>

>

>

>

78 œ!œ!œ œ!œ!œ!œ œ!œ!œ!œ œ!œ œ! œ!œ!œ œ!œ!œ!œ œ!œ!œ!œ œ!œ œ! œ!œ!œ œ!œ œ!œ!œ!œ œ!œ!œ!œ œ! 98 œ!œ!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 L L R L L R L R R L R L L R R

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

RL RR L RL L

On the next exercise, focus on staying relaxed at all times, keeping the diddles open and the single 16ths in time.

44 œ œ œ œ!œ œ œ œ!œ œ œ œ!œ œ œ œ! œ!œ œ œ œ!œ œ œ œ!œ œ œ œ!œ œ œ œ œ œ œ!œ œ œ œ!œ œ œ œ!œ œ œ œ! œ œ!œ œ!œ œ!œ œ!œ œ!œ œ!œ œ!œ œ! RRRL RRRL L L L RL L L R

RL L L RL L L L RRRL RRR

RRRRL L L L L L L L RRRR

RRL L RRL L L L RRL L RR

œ œ œ œ!œ œ œ œ!œ!œ œ œ œ!œ œ œ œ œ œ œ!œ œ œ œ!œ œ!œ œ!œ œ!œ œ! œ œ œ œ!œ!œ œ œ œ œ œ œ!œ œ!œ œ! œ œ œ œ!œ!œ œ œ œ œ œ œ!œ œ!œ œ! RRRL RRRL RL L L RL L L L etc.

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

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

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


The Next Level

76

RATAMACUE BUILD UPS The ratamacue is one of those rudiments that you don’t see very often – but the skills learned from playing this rudiment are invaluable. Stay relaxed for the ruff and let the triplet flow. By executing the ratamacue with proper heights and interpretation, you will have learned to relax on the low end and also have good three height control.

>

>

SINGLE RATAMACUE

44 .. œ œ œ œ œ œ 3

R

L

R

3 œœ

L

DOUBLE RATAMACUE

46 .. œ œ œ

3 œœ

R

>

L

R

R

L

R

>

3

œ œ œ œ R

.. .. œ œ œ œ œ œ

œ œ œ œ L

œœ

L

œ

œœ

L

R

L

R

RATAMACUE PRACTICE

œœ

œ œ œ œ

œœ

>

6

>

6

>

>

6

>

6

œœ

>

3

œœ œ œ

>

œœ

œœ

œ

>

..

œ œ œ œ

œœ

>

6

..

œ œ œ œ 3

œ œ œ œ >

6

>

3

3

Practice with both sextuplet interpretation and drag/ruff interpretation.

>

>

3

.. 68 .. œ œ œ

œ œ œ œ L

>

3

>

>

6

6

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L L R L R L R R L R L R L L R L L R L L R L R L R R L R L R L L R L R etc.

>

>

6

>

6

>

6

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

>

6

>

>

6

>

6

>

6

6

œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ R L L R L L R L R L R R L R R L R L R L L R L R

>

>

>

>

>

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

>

>

>

>

>

44 œ œ! œ œ œ œ œ! œ œ œ œ œ! œ œ! 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 L

3

L R

>

R L R L L R L R

3

R L

>

L R L R R L R

>

L etc.

R

L

>

R

3

L

R L R

>

L

3

R

>

L R L R

3

L

>

R L R L

R

>

L

R

>

3

L

R

L R 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 œ œ œ œ! œ œ! œ œ œ œ œ! œ œ œ R

L

R

3

L

R L R L

R

L

3

R

L R L R

3

L

R L R

L

R

L

3

R

L R L R

L

R

3

L

R L R L

3

R

L R L


The Next Level

77

VIII. THE NEXT LEVEL THE THREE STROKE ROLL (or FRENCH ROLL) Feel this rudiment as you would a double stroke roll, only with 3 notes.

44 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œœ œœœ œ œœ œœœ œ œœœœœ œ œ œ œœœ .. 3

R

R

3

R

L

L

3

L

R

R

3

R

L

L

3

L

3

3

3

6

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

6

6

6

RRRLLLRRRLLLRRRLLLRRRLLL

STRENGTH BUILDER

Use this exercise to force yourself to play a strong last note of each 3. The accents in the first two bars are to make sure that the last note of each three is played strong. Raise the lower notes (about 6) and play the accent at 9. The middle two measures should all be one height. In the last two bars there can be a slight pulse to the downbeats. Think back to Triple Beat, feel the whole hand play the three, not just the fulcrum or the back fingers. Start slow and work up to the faster tempos where the feeling should be similar to a double stroke roll, only playing three notes.

>

>

R R R

L L L

>

SLOW TEMPO

>

3

>

3

>

3

>

3

>

MEDIUM TEMPO

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 3

3

3

3

etc.

>FAST TEMPO > >

>

>

>

>

>

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 3

3

3

3

3’s HAND MOTION – Play even 8th notes to establish the hand motion of the 3’s.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

3

3

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

3

R L R L R L L L R L L L etc.

6

6

3

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

6

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

1-2-3’s The 1-2-3 is a single note (1), a double stroke (2) and then a three stroke (3). Practice all one height until comfortable with the stickings. After the rudiment is mastered at one height, move to pulsing the downbeats and three strokes while keeping the pud-du-da down. The whole rudiment should feel very relaxed and flowing.

44 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œœœœ œœ œ œœœœ œ œœ œœœœ œœ œ œœœ .. 3

R

L

3

L

R

R

3

R

L

R

3

R

L

L

3

L

3

3

3

6

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

6

6

6

RLLRRRLRRLLLRLLRRRLRRLLL

1-2-3 HAND MOTION – Feel the hand motion established in the first two bars for the entire exercise.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœ œœœœœœ œœœœœœ œœœœœœ 3

3

3

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

3

R R L L R R R R L L L L etc.

6

R R L L R R L L

6

6

6

RL LRRRLRRL LL RLL RRRLRRLLL

45 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ .. œœœœœœ œœœœœœ œœœœœœ œœœœœœ 3

3

3

3

6

R L L R R L L R R R R R L R R R R L L R R L L R R L etc.

43 œ œ œ œ œ œ œ 3

R L

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

3

œ œœœ œ œ œ

3

3

6

6

RLLRRRLRLLRRRLRLLRRR

6

6

6

RL L RRRLRRLLL RLL RRRLRRLLL

œ œ! œ œ œ œ œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 3

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

3

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

6

6

6

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


The Next Level

78

3-2 ROLLS or EGG BEATERS Practice this rudiment all one height, with the three stroke at 9 and the double at 3 and vice versa.

5 4 œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ 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

R

R

L

L

R

R

R

L

L

R

R

R

L

L

R

R

R

L

L

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

3-2 HAND MOTION

10 8 œ. œ œ. œ œ. œ œ. œ 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 L

L R

R L

L R

R L

L R

R L

L R

R R R L L L L R

R R R L L L L R

œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ. œ 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 L

L L R R R L

L L R R

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

The flam is the last note of the grouping of three. Treat the flam not as a grace note but a full stroke to become comfortable with the sticking.

44 œ œ œ œ œ œ œ œ œ œ œr œ œ œ œ œr œ œ œ œ œr œ œ œ œ œr œ œ œ œ œr œ œ œ œ œ œ R L

R L

L R

L R

R L

R L

L R

L R

R L

R R L L L R

L R

R L

R R L L L R

L L

R L

R L

L R

L R

The first bar should be very strict rhythmically and then allow the stickings to slur into fivelets in the second bar.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

R L

R L

3

R L L R

L R

R R L L

3

R L

L R

3

5

L R

R L

R L

R L

5

L R

L R R L

R L

R L

5

L R

5

L R

3-2 PRACTICE

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5:3

5:3

3

5:3

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

5:3

3

5:3

L L L R R L L L R R L L L etc.

3

5:3

6

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

6

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

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5:3

5:3

5:3

R R R L L R R R L L R L RR L L L R R L L L R R L R L L

5:3

5:3

L L L R R L L L R R L R L L etc.

5:3

R R R L L R L RR L L L R R

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

BROKEN WINDOW Play with strict two heights on the accented measures at the end and slur the diddles in measure 8 to all be the same interpretation. Use the 8th note hand motion to keep the 3’s consistent.

44 œ œ œœœœ œ œœœœœœœ œ œœœœœœœ œœœœœœœ œ œœœœœœœ œ œ œœœœœœœ œ œœœœœœœœœœœœœœœœ œ 3

R

L

3

RRRL

R

3

3

3

LLLRRRL

R

3

LLL RRRL

3

6

RRRL LL R

6

>

L

>

RRRL

>

R

LLLR

L

RR R L L L R

>

L

3

œ œ œœœœ œ œœœœ œ œ œ œ œ œ œ œ R

6

>

RRRLLL R

3

œœœœœœœ

L L L RR R L

>

3

>

L

R

3

L LL RRRL

> >

3

>

R

6

6

L L L RL L RRR L RRL L L R

>

6

6

œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ R L

R L

R

L

R

RRRLL L RRRLL L

œ œ œ œ œ œ œ œ œœœœœœ œœœ!œ!œ! œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ y R

L

R

6

3

RRRL LRRRLR L

L

6

6

6

6

R L R R L R L L R L R L RRRL L L R R R L L R R R L L L R R R L L R

R

œœœœ

RLRL


The Next Level

79

3-2-1’s This rudiment got its name because of (you guessed it): the sticking. A triple beat, double beat, then a single beat. There is a sort of inverted motion to this rudiment.

44 œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œœ œœœ œœœ œ œœ œ œœœœœ œœ œœ œ œ .. 3

R

R

3

R

L

L

3

R

L

3

L

L

R

R

3

L

3

3

3

6

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

6

6

6

RRRLLRLLLRRLRRRLLRLLLRRL

Feel the hand motion established in the first bar throughout the exercise.

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœ œœœœœœ œœ œœœœ œœœœœœ 4 3

3

3

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

3

6

R L L R R L L R L R R L etc.

R L L R R L L R

6

6

6

RRRLLRLLLRRLRRRLLRLLLRRL

Keep in mind the slight inverted motion to this rudiment. Practice one height and then move to slightly accenting the three strokes. Be sure to keep the Swiss down.

45 œœœœ œœœœ œ œœœœ œ œœœœ 44 œœœœœœœ œœœ œœœœ œœœœœœ .. œœœœœœ œœœœœœ œœœœœœ œœœœœœ 3

3

3

RRR L LLLR

RR R L LL LR

R

L L RL etc.

R

3

6

3

L L RL

RRRL L RL

3

6

RRRL LRL

6

RRRL L R

6

> >

> >

>>

6

RRRL L RL L L RRL RRRL L RL L L RRL

Play the correct interpretation in the first two bars; slur the rhythms together to play even sextuplets.

>

6

> >

>

>

! ! 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 L

3

R L

R L

L L R R

R L

L R

3

R

R etc

R

L L R

L

3

3

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

6

6

6

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

2-3 ROLLS or INVERTED EGG BEATERS Practice this rudiment the same as 3-2 rolls.

45 œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ 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 L

R L

L R

L R

L R

R L

R L

L R

L R

L R

R R L L L R

L L R R L R R L L R

L L R R

RRL L LRRLLL RRL LL RRL L L L LRRRL L RRRL LRRRL L RRR

2-3 HAND MOTION – Use this exercise to establish the correct hand motion for 2-3 rolls.

10 8 œ œ . œ œ . œ œ . œ œ . œœœ . œœœ . œœœ . œœœ . (check pattern)

RRL LLR

œ œœœœ œœœœ œœœœ œœœ

ck

RRL LLR

ck

R LLL R LLL L RRR L RRR

œœœœœœœœœœœœœœœœœœœœ RRLL LRRL LL L L RR RL L RRR

The same approach to this exercise as in 3-2 practice. Play the grace as a full note, become comfortable with the sticking.

44 œ œ œ œ œ œ œ œ R L

R L

L R

L R

R L

R L

L R

r

œ

L R

œ œ œ œ œr œ œ œ œ

L R etc.

R

L

L L R

R

L

r

œ

L

œ œ œ œ œr œ œ œ œ

r

œ

œ œ œ œ œ œ œ œ R

R

L

L

Play correct interp in the first bar; slur to play fivelets in the second.

4œ œ œœœœ œ œœœœ œ œœœœ œ œœœ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ 4 3

R L

R L

L L L R R R R L

3

R L

L L L R R R

3

3

5

R L

R L

L R

5

L R

L R

R L

R L

L R

5

L R

L R

5


The Next Level

80 2-3 PRACTICE

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5:3

5:3

3

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

5:3

L

5:3

3

5:3

L R R R L L R R R L L L etc.

3

5:3

6

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

6

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

42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5:3

5:3

5:3

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

5:3

5:3

L L R R R L L R R R L R L L etc.

5:3

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

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

Let everything flow for this exercise. Pulse the doubles and keep the three’s down while staying relaxed on the paradiddles.

MORE PRACTICE All of the following should feel very relaxed and very flowing. Experiment one height and multiple heights on individual rudiments. Keep all the diddles open.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

6

5:3

5:3

3

6

R L L R R R L R R L L L R R R L L R R R L L R R R L R R L L L etc.

6

5:3

5:3

3

L R R L L L R L L R R R L L L R R L L L R R L L 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5:3

5:3

3

5:3

5:3

3

5:3

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

3

5:3

3

3

6

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

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

6

5:3

5:3

6

R L L R R R L R R L L L R R R L L R R R L L R L R R L R R L L L etc.

6

5:3

5:3

L R R L L L R L L R R R L L L R R L L L R R L R L 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 5:3

5:3

5:3

5:3

5:3

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

5:3

3

6

R R R L L RL RRL L L R R L RL L R R R L L L R R R

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

6

4:3

R L L R R R L R R L L L R R R L L R R L L L etc.

4:3

3

R R R L

R R R

6

6

4:3

4:3

3

L R R L L L R L L R R R L L L R L L L R L L 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 4:3

4:3

3

4:3

4:3

3

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

4:3

R R R

3

L

R R R L

4:3

L

L

3

3

6

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

Now go back and play all of the variations with 3-2-1’s in the place of the 1-2-3’s, 2-3’s in the place of the 3-2’s, paradiddles where there are three’s, any combination will work!

DIDDLE CONTROL REVIEW Once you have finished this chapter you should have a VERY strong sense of “stick control” and the ability to play multiple notes on a hand with extreme consistency and sound quality. Remember that you are not limited to what I have here. Try combinations of all the different exercises in this section to come up with your own!


The Next Level

81

BUZZ CONTROL Learning how to play a great buzz roll can teach you many things about manipulating the stick and creating even sounds. The finesse required to achieve a superior buzz roll can be applied to every aspect of your playing, so study the exercises with this thought in mind. This chapter has many exercises that work on the quality, consistency, timing and hand motion of buzz rolls, including: I.

BUZZ LENGTH

II.

BUZZ SPEED

III.

ONE HEIGHT BUZZ CONTROL

IV.

TWO HEIGHT BUZZ CONTROL

V.

THE NEXT LEVEL – Diddles and Buzz’s together

The approach I use is suited to the rudimental style of playing and keeping hand motions consistent. I use the front of the grip in my right hand and primarily thumb in my left hand. I use mostly wrist, keeping my motion the same as it would be if I were playing open diddles. Scott Johnson used to say, “less flesh on stick.” This helped a lot when it came to achieving a smooth and even buzz roll. If you take some fingers off the stick, this allows the stick more of a chance to bounce multiple times. When releasing your fingers, “shadow” the stick, meaning to keep the fingers close to the stick, and not look like you are letting go.

I. BUZZ LENGTH The length of the buzz is determined by two things: Amount of pressure in the fulcrum and the speed of stroke. The looser your fulcrum, the fewer notes you are going to get and the farther apart they are going to be. The tighter the fulcrum is, the more notes you can get out of the stick and the closer they will be. The speed of stroke affects the volume of the attack to each buzz.

j Z

4 œ ‰ Œ œZj ‰ Œ 4

j j œZ ‰ Œ œZ ‰ Œ

Tight Fulcrum / More Pressure

Œ œZ Œ

Loose Fulcrum / Less Pressure

œZ

œZ

Œ œZ Œ

Also practice allowing each buzz to last until the next one starts. Notice in the following exercise how the ties go PAST the note, think of this as the duration of each of the buzzes.

4 œZ 4 R

œZ

œZ

œZ

œZ

œZ

œZ

œZ

L

R

L

R

L

R

L


The Next Level

82

II. BUZZ SPEED The goal of this section is learning to play different buzz roll checks or meters in time. Experiment with different pressures in the hand to achieve different lengths of buzz relative to the meter of the check. Remember that depending on the music, sometimes a faster check sounds better than something slower, so keep your ears open to hear the subtle differences of different meters at the same tempos. REMINDER: The speed of the check and the texture/timbre of the buzz all depend on the musical setting which the sound is used. Use the exercises on the next page to practice different hand speeds and lengths of buzzes. You will notice all of the notes are tied in this section. The ties should help you visualize how each buzz needs to overlap the previous one. Consider what it would sound like to tear silk. This is the sound you are looking for in a buzz roll. Some good adjectives to describe a well executed buzz roll would be: smooth, full, warm, and even. Play each exercise at m.m.=80-120.

44 œ œ œ œ œZ œ œZ œ œ œ œ œ œ œZ œ œZ œ œ œ œ œZ œZ œZ œZ R L

L R

R L

L R

etc. etc.

44 œ œ œ œ œZ œ œZ œ œ œ œ œ œ œZ œ œZ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ R L

L R

R L

L R

etc. etc.

44 œ œ œ œ œ œ œZ œ œZ œ œZ œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ 3

R L

L R

3

R L

L R

3

R L

L R

3

3

3

3

3

3

3

3

3

etc. etc.

44 œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ R L R L L R L R

etc. etc.

44 œ œ œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ œ œœ œ œ œ œœZœ œZœ œZœ œZœ œZ œ œ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ 5

5

5

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

5

5

5

5

5

5

5

5

5

etc. etc.

44 œœœœœœ œœœœœœ œZœœZœœZœ œZœœZœœZœ œœœœœœ œœœœœœ œœZœœZœœZœœZœœZœœZ œœœœœœ œœœœœœ œZœZœZœZœZœZœZœZœZœZœZœZ 6

6

6

6

6

6

6

6

6

6

6

6

R L R L R L etc. L R L R L R etc.

Apply all the skills learned in the previous buzz exercises to achieve a full buzz that is smooth regardless of meter. Consider someone listening to you with his or her eyes closed, would they know the meter of the buzz? m.m.=90-110.

44 œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ 3

R L

L R

5

R L

L R

3

3

3

etc. etc.

5

5

5

6

6

6

6

œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ Be sure to practice all of the exercises at every dynamic level!


The Next Level

83

III. ONE HEIGHT BUZZ CONTROL When I think about buzz rolls and the check patterns for them, I think just like I do for open rolls – I just happen to be playing more notes on each hand than in an open roll. Keep this in mind with the following exercises. Whatever happens, make sure that you know where the downbeat is while playing the extended buzz rolls. Below are the 16th 4-2-1 grid patterns for 1, 2 and 3 buzzes. Apply the 4-2-1 process to each line below. Play one height without accents. The same things that were learned in the DIDDLE CONTROL chapter apply to these exercises, only with buzz strokes instead of diddles. Keep the dynamic of the exercise consistent meaning that buzzed and non-buzzed notes should be the same volume. Keep the hand motion and pressure in the grip the same for the duration of the exercise.

41 œ

œ

œ

œ

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œ

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œ

œ

œ

œ

œ

œ

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œ

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œ

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TRIPLET GRID BUZZES Apply the same treatment to triplet based buzzes as the 16ths earlier. Consistent hand motion, volume, and pressure in the grip the whole time. Use the 4-2-1 concept on the 1’s and 2’s. Z Z Z Z Z Z Z Z Z Z Z Z 12 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R L

L R

R R L L L R

L L R R

R L

L R

L R

R L

L R

R L R L R L

R L R L R L

L R L R L R

R L

R L

L R

R L

L R

6812 ..œZœZ œZœ œœ œœZZ œœZ œœ œœZ œœZZ œœ œœZ œZœZ œœ œœ œ œZœZœZœ œœ œZœZ œZ.. œ.. œZœZ œœZœœ œ œZœZœZœ œZœ œœ œœZZ œœZZ œœ œœZ œœZ œœZ œœZ œœZ œœ œZœZ .. 8 R L

R L

L L R R

R L L R

R R L L L R

R L

R L

R R L L

L L R R

R

L

L R

R L

L R

L R

L R

L R R L

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L

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68 .. œZ œZ œ œZ œZ œ œ œZ œZ œ œZ œZ œZ œ œZ œZ œ œZ .. .. œZ œZ œ œ œZ œZ œZ œ œZ œZ œZ œ œ œZ œZ œZ œ œZ ..

DUPLE AND TRIPLE PRACTICE R

L

L

R

L

R

R

L

R

R

L

L

R

L

R

L

R

R

L

R R there L R L L R motion L Lin the R check R L Rthe buzzLroll. R Stay L L R L and playRtheL buzzes R R For thisLexercise, is a different hand before relaxed full and in time being careful not to rush the triplets. Apply all the triplet grid buzz variations from earlier in the chapter.

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ 3

R L R L L R L R

etc. etc.

3

3

3

3

3

3

3

3

3

3

3

œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œ œ œ œ œZ œZ œZ œ œ œ œ œZ œZ œZ œZ œZ œZ œ œ œ œ œZ œZ œZ œ œ œ œ Also practice turning it around:

44 œ œ œ œ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ 3

R L

3

L R

3

R L

L R

R L

3

L R

3

3

3

etc. etc.

3

etc.

3

Z Z Z Z Z Z Z Z

3

Z Z Z Z

3

Z Z Z Z Z Z Z Z

3

Z Z Z Z


The Next Level

84

IV. TWO HEIGHT BUZZ CONTROL

41 œ

I have listed many common grid patterns with 16th notes and triplets below. Experiment with different buzz lengths such as really short and sharp to long and legato. Remember to approach the buzzes the same as you would open diddles from a technique standpoint by turning the wrist and keeping the hand motion consistent.

œ

>

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>

>

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TRIP DIDDLE BUZZ

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

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> >

> >

>> >>

> >

> >

>>

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68 .. œZ œ œ œZ œ œ œ œZ œ œ œZ œ œ œ œZ œ œ œZ .. .. œZ œZ œ œZ œZ œ œ œZ œZ œ œZ œZ œZ œ œZ œZ œ œZ .. >

>

>

> >

> >

>

>

>

>> >

>>

>>>

>

>>

>

.. œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ .. .. œZ œ œ œZ œ œ œZ œ œ œZ œ œ œZ œ œ œZ œ œ .. >>

>

>> >

.. œZ œZ œ œZ œZ œ œZ œZ œ œZ œZ œ œZ œZ œ œZ œZ œ .. .. œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ .. 16th TRIPLET ALL BUZZ Focus on the different hand motions that are used to play a full sounding buzz with different meters. Remember, less flesh on the stick for more buzz. There will be different pressures in the fulcrum to get a full buzz for the different meters. Apply any and all variations to the following two exercises.

>

>

>

>

>

>

>

3

>

>

3

>

>

>

>

44 œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ

>

R L R L L R L R

etc. etc.

>

>

>

3

>

3

3

>

3

3

>

3

>

>

3

>

3

3

3

>

œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ TRIPLET 16th Remember to play with strict two heights and fluid hand motion regardless of meter.

>

>

>

>

>

>

>

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>

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>

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44 œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ >

R L

3

3

L R

R L

>

L R

3

3

R L

L R

>

3

etc. etc.

>

3

>

3

>

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3

>

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3

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œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ


The Next Level

85

V. THE NEXT LEVEL Diddles and Buzz Together Here is where we put the skills of the DIDDLE CONTROL and BUZZ CONTROL chapter together. The important thing for the following exercises is the interpretation of the open doubles is correct and the buzz rolls are full.

4 œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ 4 R L

R L

L R

L R

R L

R L

L R

L R

R L

L R

R L

L R

R L

L R

R L

L R

R L

R L

L R

L R

R L

R L

L R

L R

R L

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œ œ œ œ œZ œZ œZ œZ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œZ œZ œZ œZ œ œ œ œ R

R

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L

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ 3

R

R

3

L

3

L

3

R

R

L

3

L

3

R

3

R

3

L

L

3

R

L

3

R

3

L

R

3

3

L

R

L

3

3

R

L

R

3

L

3

R

3

R

L

3

L

3

R

R

3

L

R

3

L

R

3

L

R

3

œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ L

L

R

R

L

L

R

L

R

L

R

L

R

L

R

L

R

L

R

R

L

L

R

R

L

R

L

R

L

R

L

L

R

R

L

L

44 œ œ œ œ œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ 3

R L

R L

3

L R

3

L R

R L

3

R L

L R

L R

3

R L

R L

L R

3

L R

R L R L R L R L R L R L R L R L L etc.

3

3

R

R

3

L

L

R

R

L R L R L R L R

3

3

3

œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ œZ œZ œ œ œ œ œ œ L

L

R

R

L

L

R L R L R L R L

44 œ œ œ œ œ œ œ œ œZ œZ œZ œZ œZ œZ 3

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

3

R L R L R L R L R

L

L

R

R

3

R L R L L R L R

R

L R L R L R L R L

3

3

L

R

R

L

L

3

œ œ œ œ œZ œZ œZ œ œ œ œ œZ œZ œZ œZ œZ œZ œ œ œ œ œZ œZ œZ œ œ œ œ R R L L R L

R L L R R L

R L

R L

R L L R R L

R L

R R L L

44 œZ œZ œ œ œZ œZ œ œ œZ œZ œ œ œZ œZ œ œ œ œZ œZ œ œ œZ œZ œ œ œZ œZ œ œ œZ œZ œ œ œ œZ œZ œ œ œZ œZ œ œ œZ œZ œ œ œZ œZ R L R R L R L L L R L L R L R R

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

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

œZ œ œ œZ œZ œ œ œZ œZ œ œ œZ œZ œ œ œZ .. œZ œZ œ œ œZ œZ œ œ œ œZ œZ œ œ œZ œZ œ œ œ œZ œZ œ œ œZ œZ œZ œ œ œZ œZ œ œ œZ .. R L L R L R R L L R R L R L L R

R L R R L R L L R L R L L R L R L etc.

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

.. œZ œZ œ œ œ œZ œZ œ œ œ œZ œZ œZ œ œ œZ œZ œZ œ œ œ œZ œZ œ œ œ œZ œZ œZ œ œ œZ .. R

L

R

R

L

R

L

R

R

R

L

R

L

R

R

L

APPLY ANY ACCENT GRID PATTERN TO THE ABOVE EXERCISES!


The Next Level

86

INVERTED BUZZ This is a fun rudiment that uses inverted motion with a short buzz on the second note of the diddle.

44 œ œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ R L

R L

L R

>

L R

etc. etc.

>

>

L R

etc. etc.

>

>

>

>

>

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ R L

R L

>

L R

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ œZ œ œZ œ œZ œ œZ œ œ œ œ œ R L

L R

>

L R

R L

R L

L R

>

L R

>

R L

etc. etc.

>

>

>

>

>

>

>

>

>

44 œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ R L R R L R L L L R L L R L R R

>

>

etc. etc.

>

>

>

>

>

>

>

>

œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ .. œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ .. >

>

>

> >

>

>

>

.. œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ œ œ œ œZ .. APPLY ALL THE ACCENT AND BUZZ VARIATIONS TO THE ABOVE EXERCISE!

BUZZ CONTROL REVIEW I try not to separate techniques or approaches when it comes to playing buzz rolls. The most important thing is that you play a smooth buzz roll with even sound and no gaps or “bumps” in volume. The music dictates the approach that should be used. I try to keep the motion as similar to playing open diddles as possible to stay consistent in my approach to the drum. Based on hand motion, I use different pressures in my fulcrum to allow the buzz to be longer or shorter.

NOW, GO BACK AND PRACTICE EVERY EXERCISE IN THE DIDDLE CONTROL CHAPTER WITH BUZZ’S IN PLACE OF OPEN DIDDLES.


The Next Level

87

FLAM CONTROL In this chapter, I will cover virtually everything you ever wanted to know about flams and flam related rudiments. You will need to make sure you are familiar with the concepts of “Tap Hum” and “Cushioning the Stick” from the beginning of the book. You will also need an excellent understanding of the Moeller Stroke and Velocity Stroke as it relates to two height beat combinations. This chapter is broken down into the following sections: I.

FLAM MOTIONS – A brief introduction to Downstroked, Controlled Rebound and Inverted motions.

II.

FLAM QUALITY – Exercises that focus on the consistency and interpretation of flams.

III.

DOWNSTROKED MOTION RUDIMENTS – Flam Accents, Flam Paradiddles, etc.

IV.

CONTROLLED REBOUND MOTION RUDIMENTS – Flam Taps, Swiss and similar rudiments.

V.

INVERTED MOTION RUDIMENTS – Inverted Flam Taps, Fubars, Inverted Three’s and similar rudiments.

VI.

GRID III

VII.

COMBINATION MOTIONS – Combinations of all three motions.

VIII.

THE NEXT LEVEL – Many, many, many flam exercises to hone your grace note skills.

I. Flam Motions Flam rudiments fall into three main categories of motions: Downstroked; Controlled Rebound and Inverted. If a rudiment is not specifically one motion, it will be a combination of two or more of these motions. The Upstroke and the Downstroke: Remember that everything breaks down the basic strokes learned in the beginning of the book. When playing flams, the motion of the upstroke or downstroke will be larger or smaller depending on the height needed for a given note. The larger upstroke motion will happen when moving from grace or tap to accent, while the smaller will be from grace to tap. The downstroke will be larger from accent to tap or grace and smaller when playing tap to grace.

Downstroked Motion (High to Low) This motion is the motion that is used for rudiments such as Flam Accents, Flam Paradiddles and the like. Basically, it occurs when an accent is followed by multiple low notes. The word “Downstroked” to me does not mean “freeze down” or “stop the stick.” To me, this word means to keep the taps down after the accent by cushioning the stick. This is done by absorbing the rebound with the back fingers and allowing the stick to rebound to the desired height (usually tap or grace note height, level 3 or 1 respectively). Once allowing the stick to rebound to the desired height, the taps or grace notes are played very relaxed and rebounded from the lower height. Refer back to the Two Height Control portion of this book for more information. > >

12 8 œ ‰œ œ œ ‰œ ‰œ œ œ ‰

Here is an example of the “Downstroked Motion” used in playing the Flam Accent:

> > 12 8 œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ R L

R L

R L

R L

R L

R L

R L

R L

R L

> > > > r œ œ œrœ œ œ œrœ œ œ œrœ œ œ œœ R L

L R

R L

L R

R L

L R

R L

L R

R L

L R

R L

L R


The Next Level

88

Controlled Rebound Motion (Multiple Heights) The Controlled Rebound Motion is used in rudiments such as Flam Taps, Swiss Army Triplets, Duchuddus and various others. In Flam Taps, there are three different heights: Grace, High Tap (level 6 or 7), and Accent. In Duchuddas, the heights are the same but in a different order, the grace note follows the accent so a different level of control is needed to keep the stick down for the grace and then rebound for the tap. > > > > Here’s an example of the Controlled Rebound Motion, as it applies to Flam Taps:

>

>

>

R R R

R R R

>

44 œ œ œ œ œ œ œ œ œ œ œ œ

r

œ

>

r

>

44 œ œ œ œ œ œ œ œ œ œ œ œ R L

R L

r

>

R L

R L

r

>

R L

R L

r

>

r

>

r

>

r

>

œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ R

R

L

L

R

R

L

L

Inverted Motion (Low to High) The inverted motion is an accent right after a tap, moving from a lower height to an accent height. Use Moeller to return the stick to accent height after the lower notes. Be sure to keep the pressure in the hands the same the whole time.

>

Here's an example of the Inverted Motion, as it applies to Inverted Flam Taps:

>

>

R L

R R R L L L

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ R L

R L

>

R L

R L

>

R L

R L

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ 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

R R L L

r

R L

L R

r

L R

R L

r

R L

L R

L R

r

r

r

r

R L

Flam Motions Summary Remember: if you have worked through the Two Height Chapter, you already know how to play each of these motions and beat combinations. Refer back to the TWO HEIGHT CHAPTER for detailed information on these beat combinations and motions.

II. Flam Quality These exercises involve grace note placement, alternating flams, and same hand flam patterns. The focus here is to produce multiple flams of the same quality and consistency. M.M. = 60-160

>

44 œr œ

r

œ

R RL L

R L

>

r

œ

œ

L R

>

r

œ

œ

R RL L

R

>

œ

L

r

œ

L R

L

œ

r

œ

R etc.

R

œ

L

r

œ

L

œ

R

r

œ

R

r

œ

œ

L

>

r

œ

œ

>

r

œ

œ

r

œ

œ

r

œ

œ

r

œ

œ

œ

r

œ

>

œ

r

œ

>

œ

In this next exercise, use the “Bucks” motion to keep the taps low for the grace notes. Notice the upbeat tap in measure 1 becomes the grace note in meas. 2. At faster tempos, apply the Moeller Whip. For the mezzo piano measures, the motion is the same as the forte measures, just smaller and lower. M.M. = 60-120

>

>

>

>

> > > > > > > >

>

R

R

>

>

>

> > > > > > > >

44 œ œ œ œ œ œ œ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œ œ œ œ œ œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ f >

R L

R L

>

R L

R L

>

etc.

>

œ œ œ œ œ œ œ œ

P

RL

R

RL

> > > > > > > >

œ œrœ œ œrœ œ œrœ œ œrœ

>

R

R

>

R

LR

>

>

œ œ œ œ œ œ œ œ

r

œ

RL

LR

RL

> > > > > > > >

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ


The Next Level

>

89

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ r

R L

r

L R

r

R L

r

L R

r

R L L etc.

r

R

r r r

L

R

L

r r r

R

L

R

L

r

R

L

r r r

R

L

R

L

R

L

R

L

R

L

R

L

R

L

R

L

Produce consistent flams at forte and mezzo piano in the following exercise. Remember the motions is all the same, just at different heights. M.M. = 60-152

44 œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ f R

R

R

R

L

r

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ

P œ

R

f

R

R

L

R

L

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ

R

L

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ R

L

r

œ

r

œ

L

r

œ

L

L

L

r

œ

L

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ

P R

L

R

œ œrœ œrœ œrœ œrœ œrœ œrœ

r

œ

L

œ œrœ œrœ œrœ œrœ œrœ œrœ

The first two bars establish the motion that should stay consistent throughout the exercise. There are no accents in this exercise, just forte 8 on a Hand Motions. Be sure to keep the grace note placement consistent. M.M. = 60=160

44 œ œ œ œ œ œ œ œ f R L

R L

R L

R L

etc. etc.

r

œ

œ œ œrœ œ œrœ œ œrœ œ

œ œ œ œ œrœ œ œ œ

r r

œ

r

œ

œ œ œ œ œrœ œrœ œ œrœ œrœ

r

œ

œ œ œ œrœ œ œ œrœ œ

œ œrœ œrœ œ œrœ œrœ œ œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ

Same as above with constant low 8 on a hand motions. Full rebounded notes for the primary notes of the flams. M.M. = 60-160

44 œ œ œ œ œ œ œ œ p> > > > R R R R L L L L

etc.

œ œ œrœ œ œrœ œ œrœ œ ‘

r

œ

L

R

L

R

L

R

L

>

r

œ

> >

œ œ œ œ œrœ œ œ œ L

r r

œ

R

>

R

R

> >

R

L

R

L

R

> >

R

œ œ œ œ œrœ œrœ œ œrœ œrœ L

L

R

L

L

R

>>

>

r

œ

L

>>

R L

L

R L

L

>

œ œ œ œrœ œ œ œrœ œ R

œ œrœ œrœ œ œrœ œrœ œ œ

L

>

R

L

R

R

L

R

> > > > > > > >

œ œœ œœ œœ œœ œœ œœ œœ

3

3

r r r r r r r r

œ

R R

L

L

L

L

L

L

L

L

Apply the motions learned in the previous exercises to the following.

4 œrœ œrœ œrœ œrœ 4 R L R

R L L

R L R

r

œ

R L L

œ œrœ œrœ œrœ R L R

R L L

R L R

r

œ

R L L

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ

3

3

r r r r r r r r r r r r

œ

etc. etc. etc.

œ œœ œœ œœ œœ œœ œœ œœ œœœœ œœ œœ

44 œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ R

R

R

R

L

L

L

L

R

L R

R

L R

L

L

R

L L

R

L

R

R

L

R

R

L L

R R

L

L

R L R

L

R

L R L


The Next Level

90

FLAM QUALITY: THE NEXT LEVEL The remaining exercises in the Flam Quality section are fairly advanced. Be sure you have mastered the ability to play the grace note and primary note very consistently before moving on.

FLAM INTERPRETATION Practice the following exercises to place the grace note in various places in relationship to the primary note. Open flams have more space between the grace note and primary note while “Popped” flams are basically double stops.

>

Open Flams

44 œr œ

r

œ

R L

>

>

r

œ

œ

œ

R L

R

r

œ

R L

L

>

>

Correct Flams

œ

R L

.. .. œ œ

L

R

R

r

>

r

œ

R L

>

r

œ

œ

R L

>

œ

œ

R

>

"Popped" Flams

>

>

œ

R L

.. .. œ

œ

œ

œ

L

R

L

R

L

r

r

R L

L

>

œ

R L

r

œ

R L

r

œ

R L

..

r

œ

R L

Apply the interpretation concept from above to Flam Accents, Flam Taps and Inverted Flam Taps. Remember to keep the grace note at 1”, Taps at 3” and Accents at 9-12” regardless of flam interpretation.

>

>

>

>

12 8 œœœœœœœœœœœœ >

R L

L R

R L

Correct Flams

r

œ

>

L R

R L

L R

etc. etc.

>

>

Open Flams

>

r

œ

>

r

>

r

>

r

>

>

> > > > 44 œr œ œ œr œ œ œr œ œ œr œ œ R L

R L

L R

L R

R L

R L

L R

L R

> > > > r r r r 44 œ œ œ œ œ œ œ œ œ œ œ œ OPEN

R L

L R

L R

R L

R L

L R

L R

R L

>

>

>

>

œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >

>

>

> > > > r œ œrœ œ œrœ œ œrœ œ œœ

CORRECT

etc. etc.

> > > > r r r r œ œœ œ œœ œ œœ œ œœ

CORRECT

etc. etc.

>

"Popped" Flams

œ œ œ œrœ œ œ œrœ œ œ œrœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ OPEN

>

r

> r

r

>r >r >r >r œœ œ œœ œ œœ œ œœ œ

POPPED

>r >r >r >r œœ œ œœ œ œœ œ œœ œ

POPPED

All of the following are endurance exercises for rebounding at the lower dynamic as well as flam consistency. • Stay low for the taps and the unaccented primary notes of the flams. • Allow the stick to rebound correctly to grace, tap, or accent height. • Think of the Tap Hum for the entire exercise.

r

œœ œ œ œœ œ œ œœ œ œ œœ œ œ


The Next Level

91

>

>

>

>

> > > >

> > > >

>

> > > >

> > >

12 œrœ œ œ œrœ œ œ œrœ œ œ œrœ œ œ œrœ œrœ œrœ œrœ œ œ œrœ œrœ œrœ œrœ œ œ œrœ œ œ œrœ œrœ œrœ œrœ œ œ œrœ œrœ œrœ 8 R L

>

L R

>

r

œ

R L

L R

R L

L R

>

R

>

etc.

œ œ œ œrœ œ œ œrœ œ œ œrœ œ œ

R

R

L

R

L

L

L

L

R

> > > > > > > > > >

L

R

r

œ

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œ œ R

R

> > > > > > > > > >

r

r

r

r

r

r

r

r

r

r

L

L

L

L

L

L

L

L

L

L

œ

R

R

R

R

R

R

R

R

L

R

L

>

r

œ

R

L

L

L

R

>

L

R

R

>

R

œ œ œ œrœ œ œ œrœ œ œ œrœ œ œ L

R

L

R

L

R

L

R

L

R

L

R

> > > > > > > > > > > >

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ ..

r

œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ R

R

>

L

œ

L

R

R

R

R

R

R

L

L

L

L

L

L

Don’t let the next two exercises scare you. Both deal with playing one flam, then two, three, all the way to six and back down. Know where the downbeat is at all times and stay relaxed.

>

>

> >

> >

> >

>

> > >

> > > >

> >

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œrœ r

R L

> >

r

L R

R L

L R

r r

R

L

R

r

R L etc.

R

> > > > >

r

r

L

L

r

R

L

r

R

r

R

R

> > > > >

œ œrœ œ œ œrœ œrœ œrœ œrœ œrœ œ œ œrœ œrœ œrœ œrœ œrœ

œ

> > > > >

r

r

r

r

r

>>

>>

r

r

r

r

>

>

>

>

œ

>

œ œrœ œrœ œrœ œ œ œrœ œrœ œ œ œrœ œrœ œ œ œrœ œ

L R

R L

L R

> > >

r

R

L etc.

R

> > > >

R

L

R

L

L

R

r

L

r

etc.

r

r

> > > > > >

> > > >

>

r

R

r

r

> > > > > > > > > >

œ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ œrœ R

R

R

L

L

L

R

R

L

L

>

>

>

>

>

>

>

R

R

R

L

L

L

R

r

> > > > >

r

r

œ

œ

L

r

> > >

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œrœ œrœ œ

>

R

L

r

R

>

L

r

œ œrœ œ œ œrœ

>

L

L

r

> > > > > >

r

4 œrœ œ œ œrœ œ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œ 4 R L

R

r

> > > >

r

œ œ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ >>>

L

r

œ œ œrœ œrœ œrœ œrœ œrœ œrœ œ œ œrœ œrœ œrœ œrœ œrœ œrœ

> > > > >

r

r

œ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œ œrœ œ > > >

> >

> > > > >

œ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ

œ

>

R

r

œ

R

> > > > > > R

L

L

L

> > > > >

L

R

R

R

R

R

> > >

L

> >

L

L

L

L

> > L

> > > >

R

R

R

R

R

>

œ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œ œrœ R

>

> >

L

L

L

L

L

> > >

>

R

L

L

L

L

R

>

>

L

L

R

R

R

> > R

L

L

L

œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œ œrœ œ œrœ œ œ L

R

R

R

R

L

L

>

L

>

R

>

R

>

R

L

œ œ œ œrœ ≈ œrœ œ œ œrœ Œ

r

œ

R

R

L

L

R

L

FLAM QUALITY REVIEW Remember to stay relaxed on the low end, especially when playing multiple flams in a row. You should be able to produce very consistent flams, all having the same interpretation and quality of sound before moving on.


The Next Level

92

III. DOWNSTROKED MOTION (High to Low) Here we will learn all the rudiments associated with Downstroked Motion.

THE FLAM ACCENT The Flam Accent is the basis for many of the hybrid rudiments that are going to come later in this book. The motion of the Flam Accent is the control of an accented note followed by three low notes, one of which being the grace. FLAM ACCENT BREAK DOWN

68

r

œ

>

R L

L

r

œ œ œ

R

L R

œ

R L

R L

>

>

>

R L

>

>

>

>

.. .. œr œ œ œ œr œ œ œ .. .. œr œ œ œ œr œ œ œ œr œ œ œ œr œ œ œ ..

œ œ œ L R

>

L R

>

>

FLAM ACCENT BUILD UP

>

>

>

>

>

r r r r r r ‰ ‰ ‰ ‰ 12 œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ œ œ ‰œ œ ‰ œ œ œ œ ‰ 8 ‘ ‘ R R L

R R R L L L

R L

>

R R R L L L

>

LR

>

>

œ œ œ œœ œ ‰ œœ œ œ œœ œ ‰

r

œ

r

LR

L R

RL

R L

r

RL

R L

LR

>

>

r

LR

L R

RL

Focus on each hand’s flam accent.

>

R L

RL

>

>

L R

r

R L

L R

>

R L

>

L R

etc. etc.

r

>

r

œ

>

LR

R R R L L L

RL

R L

LR

12 8 œœœœœœœœœœœœ R L

R R R L L L

RL

r

œ

>

r

L R

RL

>

R L

>

L R

R L

>

>

>

L R

>

r

LR

>

R RL R L LR L

RL

R L

LR

L R

>

LR

L R

RL

>

R L

RL

R L

LR

>

L R

>

>

œ œ œ œ œ œ œrœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >

>

>

7 œrœ œ œ œ œrœ œ œ œrœ œ œ œ œrœ œ œ 8 R L

r

RL

œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >

>

R RL R L LR L

RL

œ œ œ œœ œ œ œœ œ œ œœ œ œ

LR

>

LR

r

œ

etc. etc.

>

r

œ

>

>

r

>

r

>

r

>

œ œ œ œœ œ œ œœ œ œ œœ œ œ >

>

œ œ œ œrœ œ œ œ œrœ œ œ œrœ œ œ œ

THE FLAM PARADIDDLE BREAK DOWN / BUILD UP

44

r

œ

L R

>

œ œ œ œ R L

L R

R L

>

œ

R L

>

œ œ œ œ .. ..

r

RL

LR

R L

L R

44 œ œ œ œ œ ‰ œ œ œ œ œ ‰ ‘ ‘

LR RL

r

>

L R R R L L

RL

R LR L

r

>

>

>

>

LR

r

>

R R R R L L L L

RL

r

>

>

>

>

œ œ œ œ œ 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

œ œ œ œ œ ‰ œrœ œ œ œ œ ‰ ‘

r

œ

>

œ œ œ œ œœ œ ‰ œœ œ œ œ œœ œ ‰

r

œ

>

œ

L R

>

R R R R R L L L L L

r

>

>

r

>

>

>

œ œ œ œrœ œ ‰ œrœ œ œ œrœ œ ‰

r

œ

r

LR RL

R R L L

>

RL

LR

R L

>

œ œ œ œ œœ œ œ œ œœœœ œ œœœ œœ ‘

r

œ

>

r

LR RL

r

L R R R L L

RL

LR

r

R L L L R R

r


The Next Level

93

Use this exercise to establish the placement of the grace notes for Flam Paradiddles.

>

>

R L

R R L L L R

>

>

>

>

>

>

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ L L R R

r

r

R

R

R

r

L

L

r

r

L

r

R L R R

r

L R L L

r

R L R R

L R L L

etc.

Stay relaxed for the doubles and play a full isolated tap.

>

>

>

>

44 œ œ œ œ œ œ œ œ œ œ œ œ 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

R L

R L

L R

L R

r

R L

L R

R L

R L

L

L etc.

R

R

L

Stay relaxed and keep the taps even and angled.

>

>

>

r

R

L

L

R

>

R

L

L

>

R

R

L

>

L

r

R

L

R

>

R

L

R

L

L

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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

R L

r

L R

R L

L R

r

R L

L R

R L

R L

L

r

R etc.

L

R

L

r

R

L

L

R

r

L

R

L

r

R

L

L

r

R

L

R

R

L

R

L

R

R

HAND TO HAND PATTI FLA-FLAS The motion for this rudiment is very similar to that of a Flam Accent, just adding one more tap and one more accent. Allow the first of the same hand accents to rebound and then cushion the second to stay down for the tap that follows. BREAK DOWN / BUILD UP

>

>

44 œ œ œ œ œ œ

>

r

œ

LR

RL

RL

LR

LR

L R

RL

R 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

r

r

>

r

R L

L R

r

r r

r

r

r r

r r

r r

r

RR LL

> >

>

>

> >

>

44 œ œ œ œ œ œ œ œ œ œ œ œ œrœ

œ œ œ œ

œ œrœ

œ œ œ œ

œ

r

> >

œ œrœ œrœ œ

> >

> >

>

œ

L R

r

œ

L R

>

R L

R L

R L

>

R L

R L

R L

R L

R L

> >

R L

R L

>

R L

R L

R RL

>

œ

œ œ œrœ œ

œ œrœ

œ œ œrœ œ

œ

>

> >

> >

> >

>

R

R L

L

R L

R L

R L

R L

L R

R L

œ œ œ œrœ œrœ œ R L

L R

R L

R L

L R

R L

L R

R L

r

œ

R L

L R

L

R

R L

R L

R L

R L

L R

R L

R L

œ œrœ œ œ œrœ œrœ œ R L

L

R

R L

L R

R L

R L

L R

R L

L R

r

œ

R L

L R

R L

L

œ

r

œ

L

>

œ

r

œ

R

R L

R L

R L

>

R L

L R

R L

R

R L

L R

r

œ

R L

> > L

R L

L R

R RL

œ œrœ R L

L

>

>

> >

R

L

R

L

R

r

L

R

L

r

R

R

r

L

R

R L

r

L

L

R

R L

R L

R L

R L

L R

R

L R

R

L R

> >

L

L

r

œ

R L

L

œ

R L

>

R

œ œ œ œrœ œrœ œ œ œrœ œrœ œ œ œrœ œrœ œ œ œrœ

> >

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ r

R L

œ œrœ œrœ œ

> > R

L R

R L

R L

L R

R L

L R

R L

L R

L

R

R L

L

R

R L

Use the following exercise to work on approaching one and two accents the same way.

r

R L

L

L

>

R L

>

R L

L R

R L

L R

R L

L R

> >

R

R L

>

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

r

œ

>

L R

R

r

L

R

L

R

r

L

R

L

R

r

L

R

r

L

L

r

R

L

R

DOWNSTROKED MOTION REVIEW You should have excellent control of accent-to tap-heights after completing this portion of the chapter. Remember the concept of “cushioning the stick” and be sure what you are playing sounds like it looks, i.e. your taps are low and soft and accents are higher and loud.


The Next Level

94

IV. CONTROLLED REBOUND MOTION (Multiple Heights or Controlled Decrescendo) There are two types of “Controlled Rebound” motions: the Flam Tap Motion and the Duchudda Motion. The main difference in the two is that the Flam Tap is accent, high tap, and grace note while the Duchudda is accent, grace, and tap.

THE FLAM TAP

>

>

>

BREAK DOWN / BUILD UP

44 œ œ œ œ œ œ r

r

LR

R L

>

RL

RL

L R

LR

44 œ œ œ r

œ

R L

>

R L

r

>

R L

r

œ œ œœ

LR

R L

RL

œ

RL

>

œ

r

LR

>

R L

RL

>

LR

r

œ œ œœ

r

RL

œ œ œ r

>

>

>

>

>

> > > > > > > >

œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ œrœ œ ..

r

œ

>

>

L R

r

œ œ œœ

r

>

œ œ œ >

r

r

œ œ œ

r

œ

>