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Thread: Practicing Drum Rudiments

  1. #1

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    Hi all! So I am just getting back into playing. I was never very good but it was something I thoroughly enjoyed. I do not have a drum kit and probably won't for a good 4 - 6 months. So I figured I'd sit down and just start practicing sticking, rudiments, etc. I enjoy it more now than I ever did 15 - 20 years ago when I played a lot.

    My question is the order in which I learn them. Should I just pick 3 or 4 and focus on them until I get to let say 120 bpm? then move on to another set? Are there certain rudiments I should master first before moving on to others? I also have the Stick Control book which I'm going to practice. I'd like to do more but I just don't have the scratch for a kit yet or the space. I also have Syncopation and Drum Cookbook from my lessons years agao. I just don't have a kit to play that stuff on.

    Regards,
    Eddie

  2. #2

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    I'd start with singles, trying to keep them sounding even, then move on to doubles then single paradiddles. If you don't have a practice pad, just use a pillow. I've sat and watched two hour movies just playing all three of those on a pillow. The only bad thing was, if it was watching a suspenseful or dramatic movie, I found myself playing them faster and louder.
    Last edited by Markadiddle; 11-10-2012 at 10:24 AM.

  3. #3

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    Howdy mate. Good on you for getting into exercises, it's unfortunately very overlooked.
    I don't think you can ever really MASTER a rudiment, but you can sure get great at one.

    I'd say start with the Single Stroke Roll. The simplest rudiment. When you're comfortable, If I were you I'd move on to a double stroke roll. Then I'd move onto Parradiddles. I've personally found that these are the best to work on for control, but I've recently been working on more dynamic playing and have been getting into more advanced ones such as ratamacues for that.

    Personally, I'd say no matter which ones you end out practicing, ALWAYS practice the single stroke and double stroke rolls as well. These will help the most in general playing.

    And as far as speed goes. I say, just practice until you have got what you're practicing to the point of you being comfortable to whatever application you want them for. What are you intending on learning to play?

  4. #4

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    There are 40 rudiments, right? With each following exercise seemingly harder to master than the previous one. At least that's how it seems. So start with number one until you feel that you have mastered it regarding a certain speed or mechanics or both. Then go on to the next one.
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  5. #5

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    Thanks for the responses everyone. I'll probably end up playing mostly rock, but I want to learn to groove. Not straight AC/DC stuff, but something that has feeling. I love a lot of different music. I'd like to learn some jazz and funk because that stuff grooves and will only make me a better player. Thanks again!
    Eddie

  6. #6

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    I wouldn't have someone work on one rudiment until it's "mastered." I'd rather have someone do one for five minutes, then do another, then another. Then do something else, like work through Stick Control or a sight reading book. Maybe pull up a rudimental drum solo and work through a few lines or a page. Then end by going back to those rudiments for a few minutes. Then tomorrow pick some more rudiments and keep going like that. Over time all your rudiments get faster and better together, not one at a time. One, you "work different muscles" (not really but that's the analogy I use) and two it doesn't get stale, both mentally and physically. I feel that, for example, your paradiddles benefit from also being good at flam taps, and vice versa. Your muscles work better and your brain, which has a big part in all of this, learns to control the hands. If you showed a new rudiment to an already good drummer he wouldn't take long to play it well, because he's already taught his brain to control his hands. And variety is a heck of a lot less boring.
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  7. #7

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    Quote Originally Posted by JohnnySticks View Post
    I wouldn't have someone work on one rudiment until it's "mastered." I'd rather have someone do one for five minutes, then do another, then another. Then do something else, like work through Stick Control or a sight reading book. Maybe pull up a rudimental drum solo and work through a few lines or a page. Then end by going back to those rudiments for a few minutes. Then tomorrow pick some more rudiments and keep going like that. Over time all your rudiments get faster and better together, not one at a time. One, you "work different muscles" (not really but that's the analogy I use) and two it doesn't get stale, both mentally and physically. I feel that, for example, your paradiddles benefit from also being good at flam taps, and vice versa. Your muscles work better and your brain, which has a big part in all of this, learns to control the hands. If you showed a new rudiment to an already good drummer he wouldn't take long to play it well, because he's already taught his brain to control his hands. And variety is a heck of a lot less boring.
    Is there a book with rudimental drum solos?
    Eddie

  8. #8

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    Yes. James Moore and Alan Abel are two off the top of my head. Also Wilcoxin and John Pratt. I did Pratt's Drum Corps on Parade at contest way back in 9th grade. And I later played Forensic Taps by Mitchell.
    Last edited by JohnnySticks; 11-08-2012 at 03:08 PM.
    Life's too short to play the same solo twice. Improvise!

  9. #9

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    Quote Originally Posted by JohnnySticks View Post
    I wouldn't have someone work on one rudiment until it's "mastered." I'd rather have someone do one for five minutes, then do another, then another. Then do something else, like work through Stick Control or a sight reading book. Maybe pull up a rudimental drum solo and work through a few lines or a page. Then end by going back to those rudiments for a few minutes. Then tomorrow pick some more rudiments and keep going like that. Over time all your rudiments get faster and better together, not one at a time. One, you "work different muscles" (not really but that's the analogy I use) and two it doesn't get stale, both mentally and physically. I feel that, for example, your paradiddles benefit from also being good at flam taps, and vice versa. Your muscles work better and your brain, which has a big part in all of this, learns to control the hands. If you showed a new rudiment to an already good drummer he wouldn't take long to play it well, because he's already taught his brain to control his hands. And variety is a heck of a lot less boring.
    +++1 on this!!!

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  10. #10

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    Quote Originally Posted by JohnnySticks View Post
    Yes. James Moore and Alan Abel are two off the top of my head. Also Wilcoxin and John Pratt. I did Pratt's Drum Corps on Parade at contest way back in 9th grade. And I later played Forensic Taps by Mitchell.
    I also use the William F. Ludwig Snare Solo book when teaching students...it's also a good workout for myself, still! Plus I have quite a number of Wilcoxon solos that were photocopied for me by my former drum teachers, that I now go through with a few of my guys and girls. I'll have to look up some of the other books you mentioned, it's all great stuff. Cheers!
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  11. #11

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    There there's this, Crazy Army, played by two different people, one of whom is Steve Gadd.

    http://vicfirth.com/education/rudiments/crazy-army.php

    Also, there is sheet music for it and links to a couple of other solos. I've never played Crazy Army and an anxious to get the pad out and give it a try.

    And, video instruction for all 40 rudiments. I've already learnde stuff two videos in. What a great find!
    Last edited by JohnnySticks; 11-13-2012 at 06:59 PM.
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  12. #12

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    Quote Originally Posted by Markadiddle View Post
    I'd start with singles, trying to keep them sounding even, then move on to doubles then single paradiddles. If you don't have a practice pad, just use a pillow. I've sat and watched two hour movies just playing all three of those on a pillow. The only bad thing was, if it was watching a suspenseful or dramatic movie, I found myself playing them faster and louder.
    Do doubles ever get easy? I can do singles decent and then I can do simgle paradiddles pretty good, but doubles...I can do slow, really slow....
    Take care and seeya!

    Jim

  13. #13

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    Quote Originally Posted by jgraham798 View Post
    Do doubles ever get easy? I can do singles decent and then I can do simgle paradiddles pretty good, but doubles...I can do slow, really slow....
    If your Doubles are really slow you can cheat by bouncing the stick off of the pad and controlling the bounce to two strokes with your fingers. Basically you cut down a buzz roll to two hits per wrist stroke.

    I listen to podcasts or the radio while doing double strokes. It helps me focus, as it keeps your hearing occupied.
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  14. #14

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    Yes, everything gets easier with practice, including double paradiddles.

    And as for practicing. I often practice on the pad while watching sports. A lot of rudiments can fly by during a half of football. The only trick is to focus just enough om the drumming so the workout is accomplishing something.
    Life's too short to play the same solo twice. Improvise!

  15. #15

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    So no metronome with the Rudy's? The open rolls are easy to practice, but what about closed rolls, flams, etc? How do you count those with a metronome? sixteenth notes?
    Eddie

  16. #16

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    The rudiments are not quite like letters in an alphabet - but they're required for telling a story, just like letters - each carries meaning. Knowing all the rudiments gives you the technical skill required to speak meaningfully with the music - with other musicians playing the song.

    I practice the hard ones for my workouts - triple ratamacue I find hard - I also find the flams challenging and rewarding - but some rudiments I play all the time because they're so popular like:

    - paradiddles (diddle)
    - double stroke open roll
    - x stroke rolls

    Basically we want to be as fluent as possible, so we gotta learn 'em all.

    Then there's accuracy, form...:-), style, musicality, expression, ...there's a lot to music - so the rudiments are the initial building blocks of your drum experience.

    Ok, so I'm old and have been doing this only a couple of years, but my reasoning for learning was 'just learn the rudiments start to finish' - do one per day properly, then keep doing that for a couple of years. If you can do that, you're way ahead of me, because I'm nowhere near as thorough in 'doing' as I am at my 'planning'. I have to go back all the time and relearn the 'body memory' required to be smooth and fluent.

    What you want is, in my view, you want SO much hand skill, that you've 'overlearned' your hand skill, such that, if you're gigging, or playing with a bunch of people, if you get yourself into trouble, your hands can stick their way out of trouble, and bring you back on time - that's how I envision the skill required to be a drummer - but it'll take me a lifetime to get there.

    Doubles yes have gotten easier - focusing on accuracy over speed until I'm more solid and grounded as a player - need more lessons.

    Metronome - 50 BPM to start. I work on sticking first, then master the timing second - I don't use the metronome until I have the sticking memorized.

    Re: counting Ralph Peterson explains a bit - rudiments don't necessarily get played the way they're practiced - http://www.youtube.com/watch?v=VXxBOOr40yM

    This one is good too - 'http://www.youtube.com/watch?v=e19-qmLXA7o&feature=related'
    Last edited by Rickkus; 11-15-2012 at 03:26 PM.

  17. #17

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    Quote Originally Posted by jgraham798 View Post
    Do doubles ever get easy? I can do singles decent and then I can do simgle paradiddles pretty good, but doubles...I can do slow, really slow....
    Doubles are part of paradiddles and paradiddle-diddles. So if you can do a paradiddle, you can do doubles. Of course slow paradiddles =slow doubles. Try this: after each paradiddle do 4 doubles at the same speed and go back to the paradiddle. Alternate this all the time, slowly speeding up your paradiddles. You'll see increased strength in both rudiments, even if you "bounce" the left strokes.
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  18. #18

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    Should you learn all the rudiments...yes. Should you go nuts on them...no.

    When I found out there were rudiments, I bought Buddy's book on them (even though he didn't write it) and taught myself all of them.

    What I found out over the years is that, for the most part, you maybe use 5 or 6 of them a lot. Single and double stroke rolls, paradiddles, flams, ruffs, and triplets ( and triplets aren't really a rudiment, more a accent stroke).

    When I took a solo, I used bits and pieces of probably all of them, but seldom the complete rudiment.

    Are they good to know...yes, they will help with stickings, but if you are a gigging drummer, you probably won't use most of them.

  19. #19

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    Quote Originally Posted by Twospot View Post
    So no metronome with the Rudy's? The open rolls are easy to practice, but what about closed rolls, flams, etc? How do you count those with a metronome? sixteenth notes?
    Yeah, that works pretty well. Multiple bounce rolls have essentially a stroke associated with them: Stroke-bounce-bounce-bounce-bounce, stroke-bounce-bounce-bounce-bounce etc. You use the metronome to pace your strokes, for example four strokes per beat or two or whatever is comfortable.

    There are two ways to practice rudiments, with a metronome to learn to keep a steady beat--which is hugely important, and slow to fast to slow, which teaches control and helps build speed. You push to the limit then back down, then push again, always stopping just short of losing control.
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  20. #20

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    i use 5 or 6 in the music i like to play.
    i learned the pataflafla and threw it away. i dont have time for that!!
    i went through all the rudiments, it was fun.

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