RUDIMENTS AND RUDIMENTAL DRUMMING This booklet focuses on rudiments and their uses in Ancient Style Rudimental Drumming, the basic style most commonly used for Civil War reenacting. In these materials, the focus will only be on what is used the most in frequently played Civil War repertoire. In just two days there is a limited amount that can be taught or learned. If you are taking lessons privately or in schcol, you will hear about many other styles of drumming, stick grips, hand position and other rudiments. Some of this information will conflict with what you read here and learn at the Eastern Field Music School because it is applicable to other, different music styles. Also remember that each instructor has his own opinions and approach to teaching perc:ssion, ‘We will be learning the rudiments from the list known as the “26 Rudiments”. There are other rudiment lists, terminology and variations you may encounter, but the rudiments described here are “95%” of what you need :o piay most Civil War drum repertoire. This year we have four levels of drum classes. Each level will be working on the rudiments in its class... plus the rudiments in prior classes. BEGINNERS - The focus will be on the long roll and other “building block” rudiments which are components of the “compound” rudiments. 1)Long Roll 2) Single Stroke Roll 3) Flam 4) Single Paradiddle 5) Ruff NOVICE ~ The above rudiments, plus some frequently used compound rudiments. Also included will be the use ofa single stroke, seven beat triplet patter. 6)7 Stroke Roll 7) Lesson 25 8)Flamacue 9) Flam Accent 10) Flamadiddle INTERMEDIATE - All the above rudiments, plus more compound rudiments. 11) 15 Stroke Roll 12) Flam Taps 13) Single Ratamacue 14) Single Drag 15)9 Stroke Roll 16) Triple Paradiddle 17) Drag Paradiddle No. 2 18) Triple Ratamacue ADVANCED - All the above plus the following rudiments. This list includes lesser used rolls and some “double” rudiments, primarily used in 6/8 time. 19) 11 Stroke Roll 20) Five Stroke Roll 21) Ten Stroke Roll 22)Double Drag 23) Double Paradiddle 24) Double Ratamacue Because of time limitations, the last two of the 26 rudiments will not be taught due to their infrequent use in Civil War repertoire... The Flamadiddle-Diddle and the 13 Stroke Roll. Bill Maling PAGE 1 OF 11THE STANDARD 26 AMERICAN DRUM RUDIMENTS As adopted by the National Association of Rudimental Drummers No. 1 ‘The Long Roll No. 2 ‘The Five Stroke Roll No. 8 ‘The Seven Stroke Roll No. 4 ‘The Flam No. 5 ‘The Flam Accent No. 6 ‘The Flam Paradiddle No. 7 ‘The Flamacue No. 8 ‘The Ruff No. 9 The Single Drag No. 10 ‘The Double Drag TER TERT WRE WRL R ULRUUR TE = = = = > = No. 14 ‘The Double Paradiddle TRLRLUERERERRORLALE No. 12 "The Single Ratamacue ‘OU TURERE ww GREK CcRUAL weCRUR > No. 13 * Lat fete Pm 1 ‘The Triple Ratamacue patentee tate tees Olu Cel eleeleieik ue aki Ciel eel PEL PELE + All Rudiments are to be played Open and CloseNeate Tie ote 15. The, NeiePeceke aoe Tt No.6. The Pott tit pa ee em ee ee a Ten Stroke x ROLL EURRCERRER LERREL tR CURR LI LR CLRACURRL NeiZTre gH LL) or | en | evan’ Seroke Rall No.18.The THIRTEEN No.19.The CUCL erp ee oe a eee oreo FIFTEEN Stroke ROLL TURRUCRALCRRUCR LURRCLRRELRRCUR CLR CURRLURRLLR No.20.The FLAM TAP. Noi 21. The PARADIDBU LRLL ALRR CRUL RURR LRLL RLRIRUDIMENTS AND THEIR PRACTICE PRIORITIES ‘THE LONG ROLL - If you can play this ruciment correctly and cleanly... you can play almost anything! It should be practiced every time you pick up the sticks! FLAM RUFF PARADIDDLE These are the “building block” rudiments for many of the “compound” rudiments. They should be practiced very frequently The “Single Stroke Roll” is rarely used as an extended roll... but it is important because the below two short versions are used very frequently in Civil War repertoire, These “triplet” patterns need frequent practice because they are difficult to play cleanly. “SINGLE SEVEN” “FOUR STROKE RUFF” This pattern should be treated as This pattern is the basis for the rudiment. It is sometimes called ratamacue rudiments. It is sometimes a “septuplet” or “double triplet”. called a “triplet”. It alternates, 3. It des not alternate. Bo ap) T Beat Lee RARER THE MOST FREQUENTLY USED OF THE COMPOUND RUDIMENTS ROLLS FLAM RUDIMENTS RUFF RUDIMENTS — “DIDDLES” Seven Flam Paradidle Lesson 25 Triple P’did Fifteen Flamacue Single Ratamacue Double P’did Nine Flam Accent Drag P’did #2 Five Flam Taps Triple R’cue Eleven LESS FREQUENTLY PLAYED RUDIMENTS, Single Drag Thirteen Stroke Roll Double R’cue Drag P’did #1 Double Drag and the Flam Paradiddlediddle! PAGE 4 OF 11LESSON I - Three basic rudiments. See list of 26 rudiments. ‘THE LONG ROLL - Practice time on this one should be a priority. Not only is it a key to all the various length rolls... but proper focus onit will improve your stick control. Start both sticks in the up position... gradually close it (Le. go faster) until it gets rough... and then open it (i. slow down) until you are back at your starting point. Do this repeatedly. ‘As you make each stroke, bring the stick back up to the original position. As you play it faster, keep trying to raise your hands as high as possible between each beat. As an exercise, try accenting the second beat on each hand. This will help stick control and help keep the second beat as strong as the first as you get faster. Gs Adiddddi ere. The second beat on each hand must become a “controlled bounce” as the roll is closed. A good exercise is to play RRLL.... LLRR.... RRLL..... LLRR at the speed of sixteenth notes with a separation between the four strokes. RRLLRRLLa motes holding the cadence steady. ‘You should also practice playin; - cone down. Play the flam and end up with the stick positions reversed. Close and open. Keep the low hand low... don’t let it wander out of position. Practice this up to eighth note speed... keeping the stick positions and heights alternating. Avoid “flat” or two hand flams. Look at my write up on ANCIENT STYLE RUDIMENTAL DRUMMING where it discusses up-strokes and down-stfokes... the two components of a flam. a gp ere. THE PARADIDDLE - The paradiddle is RLRR followed by LRLL. The ultimate GOAL is to play this rudiment at sixteenth note speed. Open & close. In ancient style it starts with one stick up and one down: The high stick makes a down stroke (accent) and stays down. The other é stick does not move. “ 5 ere The opposite hand makes an up stroke and moves to the up position, tidatett while the other hand stays still. The down hand then makes two taps at the same speed as the first two beats, remaining in down position. ‘You are now in the reverse position for the next raradiddle. See the ASRD write up for help. See Lesson 2 for additional reasons why the above rudiments are so important to perfect. PAGE 5 OF 11LESSON 2 - Three other important rudiments. ‘THE SEVEN STROKE ROLL - This very frequently played... and is the rudiment that most frequently starts a tune phrase. That is, correctly “attacking” and completing this rudiment is the key to playing together and setting the rhythm for the tune. Accent the last beat.... LLRRLLR. This key rudiment does not alternate... always if. with the left hand AAT on #7 Ut ea ‘THE RUFF - This is the key to all the ruffrdinents The motion and sticking is similar to the flam except the low hand plays two grace notes instead of one. Alternates. Open & close. GOAL is to play at speed of eighth notes. eat wy a) ere. THE SINGLE STROKE ROLL - While this rudiment is rarely used as an extended roll in our type of music, it is another important stick control exercise... and the key to playing a commonly used pattern called a “single seven”... and a another important common pattern called a “four stroke ruff”, a keey component of all the Ratamacue rudiments. Practice the single stroke roll open and closed just like the other rudiments. As you progress, try playing it in the two short versions mentioned above of RLRERER (doesnot altemate) and RLRL.... LRLR,aocenting the last beat of each, 32 < aS er. Le BUR TRE eter UF THE IMPORTANCE OF LESSONS | & 2 In addition to reasons given in the lessons, additional reasons to perfect all the above rudiments first... is that they are “building block” rudiments. That is Playing a Flam correctly is a key to the FLAMACUE, FLAM PARIDDLES, FLAM ACCENT & FLAM TAPS. Playing a Ruff correctly is a key to the DRAG, LESSON 25, RATAMACUES & DRAG PARADIDDLES Playing the paradiddle correctly is a key to the FLAMADIDDLE, DRAG PARADIDDLES , DOUBLE PARADIDDLE & TRIPLE PARADIDDLE It is no exaggeration to say... Ifyou can play the content of Lessons 1 & 2 cleanly and up to speed... you will be able to play all the other rudiments... and “90%” of the music played in Civil War reenacting, PAGE 6 OF 11ANCIENT STYLE RUDIMENTAL DRUMMING “DEVELOPING POWER & PRECISION” There are many styles and techniques for playing the snare drum. Some styles are related to the music application, such as orchestra, band and drum set. Other styles may be related to historical periods or to such special applications, as pipe bands. All these variations should be viewed as being simply “different”, not right or wrong. Each style is usually related to different types of drums and sticks, and even drumhead type and types of slings. For reenactment drumming of the Civil War period, one style that seems appropriate for the period, equipment and music is ‘Ancient Style". This style is common in the New England states and used in many of the fife & drum corps that play a basic repertoire. *ancient Style” is suitable for the calf heads and somewhat larger, heavier sticks commonly used with rope drums. While there are varying opinions on “historical accuracy” as to appropriate style, the ‘Ancient Style” serves as a good basic technique to learn. You will see that this write up starts of with a basic review of arm, hand & finger positions. It includes explanation of why these recommendations work best in the reenactment application, and help develop precision & power. In general the style involves bringing more arm & elbow action nto play verses the focus on wrist action in many of the styles taught in school systems. This write up contrasts the characteristics of “Ancient Style” to “Band & Orchestra” style, which some of you may be learning in school or in private lessons. This write up also refers to the modern rudiments, and suggests some priorities for your practice. These priorities are based on the content of the drum parts in the typical reenactment repertoire so that you work on the most frequently used rudiments first. Within this group are the important “building block” or *component” rudiments such as the Long Roll, Flam, Ruff and Paradiddle. If you can play these “building block” rudiments correctly, then you can easily learn all the “combination” rudiments. A strong recommendation for develeping your snare drumming technique, is the use of applicable stick control exercises. These exercises should be used in addition to the usual practice of “closing & opening” the rudiments. These types of exercises are particularly valuable if you intend to play ina fife « drum group where clean execution will significantly improve the quality of the music being played. PAGE 7 OF 11THE RIGHT HAND - The primary characteristic of the ancient rudimental style is that the ye \ back of the hand is more horizontal... and the stick is at more of an angle with the forearm. This results in the right hand and elbow being a bit further from the body. i In 8 & 0, the back of the hand is more vertical and the stick more parallel to the forearm... the butt being more under the wrist... like when playing a ride cymbal. THE LEFT HAND - The most significant difference is that the two under fingers are more extended which helps whip action and helps lift the stick for better control. A callus should develop between the last joint and the fingernail! ANCIENT 4. » 4 The upper fingers are more extended and the thumb is more parallel to the stick to help with controlling bounce. This logic of this position allows more whip notion... like shaking water off your fingers. The stick is at less of an angle to the arm than B & 0, which allows more arn & elbow action. <== The B & 0 style curls the under fingers toward co iS the palm and has the stick more perpendicular Bs to the forearm. There is less "whip" and more wrist "rotation" in this position. | Arie POSITION OF STICKS ON DRUM - The hand and arn la ene positions above automatically result in a AY more "balanced" stick position relative to the drum. The sticks are at equal angles relative to the centerline of the body & drum. The B & O style has the right arm in a more "cramped" position... with the left hand & = fail JA Ace R@ib LLERR RAL LL@e © ) ‘FIVE ONTO A PARADIDDLE" - This exercise consists of five stroke rolls into a paradiddle... alternating the fives(and therefore the paradiddles) on a continuous basis. At the same time, vary the accent of the 5’s by pairs from the last beat of the roll to the eee beat, ef the roll. - 5 ei A I 4A ¥ er. ¥ yon 7 HZ eve, Recee oe Ar RREeRALLRLL “SINGLE/DOUBLE/TRIPLE/DOUBLE/SINGLE" - Try playing two single paradiddles, two doubles, two triples, two doubles, two singles as a combination. First play then as all 1/16 notes... then play them with the first beat of each paradiddle on the beat (i.e. single & triple paradiddle in 2/4 time, double paradiddle in 6/8) Alternate the starting hand. oS a3 ie ep % i" ont p- Sf 1-24 1 AT 1 (ere ATA fainiep Aim feine) dmin|n aman aaleo x x s x x x x x x x * x ) PAGE 11 OF 11