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Thread: The Drum Rudiments Thread

  1. #51

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    Yet another arsenal of info, I have learned some much from drumchat and its members. Thanks.

  2. #52

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    Ik alot of flam rudiments such as flam taps (flam RR flam LL) and flamadiddes (flam LRR flam RLL) an there's inverted paradiddles (RLLRLRLLRLRRLRLLRLRRLRLLRLRRLRLL lol i was doin dem typin it) an dere's double paradiddles (RLRLRRLRLRLL) an lots others i cant think of.
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  3. #53

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    owait... flam taps are flam rl flam lr.
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  4. #54

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    The 40 rudiments are definetly needed for any percussionist on any skill level. They're the best warm-ups and chop-builders and it's so much easier to sight read once you've learned the basics. The best thing to do is practice them right in front of a mirror, to watch your technique and even out every stroke.

    The vicfirth website has recordings (slow-fast-slow) of all the essential and hybrid rudiments. It's real helpful.

  5. #55

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    Hi. Can you recommend exercises on building-up/improving my left hand? I don't have much control on my left hand as much as my right. Not getting the bounce and wrist is way too stiff. Can't play an even and clean paradiddles however simple they are. Maybe I am not doing the traditional grip correctly? TIA.

    JDennis

  6. #56

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    I would have to see you play in order to see if you are using tradish correctly or not. That could very well be your problem. And it's hard to judge yourself, much easier to have someone on the outside looking in to help you correct things or break bad habits...so easy to get into!
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  7. #57

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    Quote Originally Posted by RHD03 View Post
    I would have to see you play in order to see if you are using tradish correctly or not. That could very well be your problem. And it's hard to judge yourself, much easier to have someone on the outside looking in to help you correct things or break bad habits...so easy to get into!
    Oh, ok. I will try to take a video of myself (trying) to play and post it here. Thanks much RHD03.

    -dennis

  8. #58

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    Quote Originally Posted by syncopated View Post
    Oh, ok. I will try to take a video of myself (trying) to play and post it here. Thanks much RHD03.

    -dennis
    No problem!
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    Quote Originally Posted by LudwigLifer View Post
    If we had centerfolds for drums,that kit would be in one of them!

  9. #59

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    http://www.pas.org/resources/rudiments/rudiments.html

    be sure to click next page on the top right...

    i suggest if your a drummer you print these 2 pages out and run through this entire list once a day till you dont have to look at the sheets... they are the basics, the stronger your base the stronger you playing will be...

  10. #60

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    Quote Originally Posted by mmurgia View Post
    Anyone know the rudiments that do not alternate? drumrudiments.com is a great resource, and I see the seven stroke and seventeen stroke do not. The books I have kind of don't make it clear. Anyone know a list of those that don't?

    Thanks!
    http://drumrudiments.com/drum-rudime...m-rudiment.htm

    Paradiddle diddle notation here is wrong but the video is correct.




    RLRRLLRLRRLLR
    LRLLRRLRLLRRL

    Consider this tye of rudiments to be done with leading right and left (those which accent always ends on R in the video they just show the right leading)
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  11. #61

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    I'm a huge advocate of rudiments as I'm primarily a rudimental percussionist. (Think marching band, drum corps, etc.). Especially the 40 PAS ones. I started getting into rudimental percussion when I entered and high school, and it's amazing how easily I've transferred it over to my set playing.

    Rudiments aren't 100% necessary for playing drumset. I'm sure many people figure out the patterns on their own and have no idea that it's a rudiment..or what a rudiment even is for that matter. But knowing the rudiments makes it so much easier to understand and learn things.

    I like to think of rudiments as a percussionist's vocabulary. The more words(rudiments in this case) you know, the more intelligent you sound. (Again, in this case your playing)

    With that said, my favorite standard rudiment is definitely the paradiddle diddle. My favorite hybrid rudiment is either eggbeaters or shirly murpheys.

    Eggbeater:
    |---5---|
    R R R L L

    Shirly Murphey:
    |-----9-----|
    R l l R r r L l l
    Last edited by Mike_L; 12-27-2009 at 06:39 PM.
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  12. #62

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    [QUOTE=Mike_L;256545]


    I like to think of rudiments as a percussionist's vocabulary. The more words(rudiments in this case) you know, the more intelligent you sound. (Again, in this case your playing)

    if that's the case i must be losin my mind!
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    The Rudiments

  13. #63

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    I found that the best way to get all of these rudiments up to tempo was practicing each one for about 3 minutes a day. In that 3 minutes I would start agonizingly slow (making sure that my technique was correct) and build up to my top speed and then come back down (about a minute and 20 seconds each way, with 20 seconds top speed time in the middle.) I would choose a group of rudiments to focus on for around 2 weeks, creating about an hours worth of hand practice every day. I cannot tell you how effective this was, and how much it helped my feel, and movement on the kit. Hope this helps!

  14. #64

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    All good stuff!!!

  15. #65

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    egg beaters are fun, I remember those from HS. Its always interesting to see set drummers throw those into a fill.

  16. #66

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    Quote Originally Posted by Mike_L View Post
    I'm a huge advocate of rudiments as I'm primarily a rudimental percussionist. (Think marching band, drum corps, etc.). Especially the 40 PAS ones. I started getting into rudimental percussion when I entered and high school, and it's amazing how easily I've transferred it over to my set playing.

    Rudiments aren't 100% necessary for playing drumset. I'm sure many people figure out the patterns on their own and have no idea that it's a rudiment..or what a rudiment even is for that matter. But knowing the rudiments makes it so much easier to understand and learn things.

    I like to think of rudiments as a percussionist's vocabulary. The more words(rudiments in this case) you know, the more intelligent you sound. (Again, in this case your playing)

    With that said, my favorite standard rudiment is definitely the paradiddle diddle. My favorite hybrid rudiment is either eggbeaters or shirly murpheys.

    Eggbeater:
    |---5---|
    R R R L L

    Shirly Murphey:
    |-----9-----|
    R l l R r r L l l
    Wow, those are great!! I love rudimental/drum corps stuff, I just never had marching bands in school growing up. I have some great books, this kinda stuff makes me want to dive into them!
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  17. #67

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    All great tips! No-one has mentioned this yet.

    Improve your control through Accent Shifting.

    Single paradiddle , for example:

    1st form___Rlrr Lrll Rlrr Lrll rLrr lRll rLrr lRll rlRr lrLl rlRr lrLl rlrR lrlL rlrR lrlL

    Inverted___Rllr Lrrl Rllr Lrrl rLlr lRrl rLlr lRrl rlLr lrRl rlLr lrRl rllR lrrL rllR lrrL

    Do this with the other two forms of single paradiddle as well.

    Do this with all rudiments, including triplets:

    Rlr Lrl Rlr Lrl rLr lRl rLr lRl rlR lrL rlR lrL

    Make sure your accent is clearly louder than the softer strokes. As always, start slow and concentrate on being smooth and fluid on one form ( such as Rlrr Lrll) until you have it down without stumbling on the accent. Count out loud and accent your voice at the accented stroke. Then string the forms together without stopping----try for continuous playing for 1 minute, then longer periods---does wonders for stamina.

    Nothing new about this. See Joe Morello's book "Master Studies" for many exercises in this concept. In the end, you will develop the ability to accent any note at any time, whether in a beat or a fill, either hand.

    Happy drumming and Cheers!

    Strider

  18. #68

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    Try playing "Conneticut Half-Time" from the William F. Ludwig Snare Solo book over a 2/4 foot pattern with the kick on both quarter notes and the hi-hat foot on "2". I tips my hat to anyone who can do that, not easy for me, but it's a great way to wake up a sleepy brain lol.
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  19. #69

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    Another little tip I've learned to help improve my speed is to not only work the rudiments with normal and accent strokes but also do them with only using your fingers. Don't move your wrist just fingers only. That will help build finger control and speed. I have been doing this quite a bit on my practice pad since I don't have a kit and it has really helped.
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  20. #70

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    Quote Originally Posted by Drumbledore View Post
    Try playing "Conneticut Half-Time" from the William F. Ludwig Snare Solo book over a 2/4 foot pattern with the kick on both quarter notes and the hi-hat foot on "2". I tips my hat to anyone who can do that, not easy for me, but it's a great way to wake up a sleepy brain lol.
    Dumbledore, what you posted here is fantastic. It is the only post here that is about how the rudiments are used in music. Learning the rudimental patterns and practicing them for speed and stick control is necessary and fundamental to drumming but to "playing" the drums and music those exercises are nothing more then what learning to spell is to writing. Learning the rudiments is very linear, playing them is linear, but also and more importantly non-linear. This is really about what a good or great teacher can do for you and where drumming surpasses a supporting role in playing music.

    Since you brought up "Conneticut Half-Time" here's a cut and paste for you from somewhere else that addresses directly your exercise and more.

    "In order to sort out what was needed, before I learned to recognize the notation, the "words" if you will, I did precisely what you are talking about - breaking everything down to elements, then going from there. It only made it harder for me in the end.

    In every forms of drumming, there are forms and guidelines that are explicit, and others that are implied or understood. Of the latter, many are actually "obvious" if one understands the context of the score or the beating.

    For example, in American Rudimental drumming, the Downfall of Paris and Connecticut Halftime each have a series of idiosyncratic moves that most "instruction" books would not mention - unless someone knows the context of the score ideas are lost and the musical flow of the score makes little sense.

    In each, if you play a 5 stroke roll or a 7 stroke roll for the 8th note rolls that resolve on the beat, you get a totally different feel than if you play them all exactly the same. A group of 4 sixteenth notes with a leading flam, an accent on the second stroke and another flam following the group, the second stroke gets a slight accent to bring out the flamacue "feel" - unless you are playing an older style that recognizes that the second stroke would naturally fall to a left-hand stroke, and the written accent brings the left hand to the same volume as the succeeding right hand. The same happens with a group of sixteenths, possibly in sequence, where no accents are present means either a paradiddle or some combination based on a paradiddle.

    These may not be "written", but are implied, and understood by experienced players.

    The same happens when playing a kit - if the tab indicates swing-8s, playing a dotted-8th/16th pattern gives one feel and a quarter to 8th with a triplet mark over the top gives a totally different feel. Both are "Swing" - but may not work for the tune or style of tune. Which one is right? It depends. To know, you must know the style being played.

    Okay, here is an example of notational obscurity. I am sure that there are others.

    Take the first beat of the first two bars of the second part of the PPBSO 6/8.

    It is written as if it should be a 6. Ends on the same hand as it begins with, yadayada.

    However if you try to plan it out as subdivisons of the eighth notes it suddently goes non-linear.

    The first note is a dotted eight, so three sixteenths duration, followed by a sixteenth and an eighth. So that all works out.

    So the roll must be R-buzz, L-buzz, R-buzz, L-tap, R-tap.

    Decidedly not a 6.

    And the handedness ends up backwards.""

    Well, maybe its a triplet eighth, followed by a sixteenth, and an eighth. The handness works out but then that's one too many sixteenths.

    Okay, then maybe its R-something, L-something, R-tap, L-tap. That works! But what value do the somethingths have???? 8-)

    Arrrggghh!

    I decided to go with the 3 sixteenths, sixteenth, eighth and ignore the handedness. 8-)

    Perhaps if the author had written it with singles and buzzes the correct sticking would have been immediately clear and not made obscure by the "words"."
    Tom MacKenzie

  21. #71

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    This is a great thread. Thanks for all the great info. Learning so much. I just bought a practice pad wondering how often I would use it but after reading this thread I will be practicing every chance I get.

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  22. #72

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    I've been playing for a year. Never had lessons. Just got a practice pad, my first. Can I use regular sticks on the practice pad? Do I need to get practice sticks for it? I'd rather use the same sticks, same weight, etc.

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  23. #73

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    Yes LL70,you can use regular sticks on the pads.Down the road you may want to change them up a little for different weights or materials.I have light and heavy sticks,and graphite ones too.Practice,practice,practice.Its the key to getting better and faster.
    ~~~~~~~~~~~~~
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  24. #74

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    Quote Originally Posted by LL70 View Post
    I've been playing for a year. Never had lessons. Just got a practice pad, my first. Can I use regular sticks on the practice pad? Do I need to get practice sticks for it? I'd rather use the same sticks, same weight, etc.
    LL70, like LugwigLifer said, think about changing the weight of your sticks ... there's another thread on here (somewhere) that recommended this and I was blown away by the idea. If you go for heavier sticks on your practice pad you can use if to build up the muscles as well as practice your rudiments.
    Also, I would recommend lessons. I've been having them for 2 years and the chap is still teaching me loads. Each time you think you've cracked it he comes along and says, "OK try this" and you're back to realising it's going to take a life time to master

  25. #75

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    Quote Originally Posted by LudwigLifer View Post
    Yes LL70,you can use regular sticks on the pads.Down the road you may want to change them up a little for different weights or materials.I have light and heavy sticks,and graphite ones too.Practice,practice,practice.Its the key to getting better and faster.
    Quote Originally Posted by lionheart View Post
    LL70, like LugwigLifer said, think about changing the weight of your sticks ... there's another thread on here (somewhere) that recommended this and I was blown away by the idea. If you go for heavier sticks on your practice pad you can use if to build up the muscles as well as practice your rudiments.
    Also, I would recommend lessons. I've been having them for 2 years and the chap is still teaching me loads. Each time you think you've cracked it he comes along and says, "OK try this" and you're back to realising it's going to take a life time to master
    Thanks. Good info. I noticed after practicing with my sticks, they are a little heavy, I'm going to switch and use both heavy sticks and lighter ones. I would love to take lessons, maybe one day!

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    "The most wasted of all days is one without laughter."

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