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The first lesson introduced a method for drummers to get their wrists and forearms fully warmed-up. This lesson will focus on what to do once we are ready to begin playing. Some background information is required so anyone can understand where I am coming from. The one attribute common to all styles of drumming are the rudiments. These are sets of patterns every drummer should know. Rudiments are for drummers, what melodic scales are for other instruments. Thus, to overlook them as being boring or non-essential is often a major mistake made by any drummer. The common misconception about rudiments is that they are difficult to learn, rather, they are fun to learn . . . Now, before I introduce you to the rudiments, drummers should understand 3 simple items. These 3 items I learned while in college (back in the 1970's), and have been invaluable to me in my playing. Some may disagree with them, I have yet to discover any of them proven wrong when one is playing: #1 . . . Begin playing having one stick down and the other in the up position. Regardless of which stick begins, as one stick goes down (from the up position), the other stick--which is down--must be on its way up, this results in a pistons effect between the sticks. When doing doubles, for example, on the first down stroke is when the piston effect of the other stick going up should occur. #2 . . . Sound dynamics on your sticks is accomplished by stick height. When playing quietly (pianissimo), the height of either stick should be no higher then 3 inches from the surface being struck, when one is playing a medium sound (mezzo forte), the height of both sticks should be between 3 to 6 inches, and for loud playing (forte), stick height should be between 8 to 12 inches. The reason for the disparity in each sound variance is for accents in playing. Therefore, by playing towards the lower height, the drummer gives him/herself room for any needed accents. #3 . . . Complete control of the sticks should extend to the height of the stick after it strikes the surface being played. That height should be between 1/2 to 2 inches--the closer to the 1/2 inch the better. NOTE ... Drummers should understand that in the beginning, drumming is a discipline: You are training your hands, wrists, fingers, and forearms to do what you want via your brain: NOT THE OTHER WAY AROUND |
With that understanding, lets look at the first 2 rudiments which--in my opinion--are the basics for all 26 essential drum rudiments: After acquiring some proficiency in playing both SINGLES and DOUBLES, they are ready to be mixed up. Using one of each together, you get the next rudiment: > R--L--R--R . . . L--R--L--L . . . R--L--R--R . . . L--R--L--L Place slight accents on the first beat of each paradiddle as is done on the first one above. This will give you a feel for how the paradiddle should sound. However, the fun is still not over, we can play with and reorganize the single paradiddle in unique ways. And, as wil be seen, this rudiment is one of the most versatile around. Some of its variations are: Here we begin with doubles, not singles > R--R--L--R . . . L--L--R--L Now we place a double in the center > R--L--L--R . . . L--R--R--L The double is now at the end, and beginning of this rudument > R--L--R--L . . . L--R--L--R . . . R--L--R--L . . . L--R--L--R Again, place slight accents on the first beat of each paradiddle as is done on the first one above. |
that as far as I know, I invented while in college. I use it both in warming up before playing and while I play. How I use it in playing, well, that's a whole different lesson--enjoy! R . . . L--L . . . R--R--R . . . L . . . R--R . . . L--L--L then reverse it: R--R--R . . . L--L . . . R . . . L--L--L . . . R--R . . . L The accent falls on the single stroke. |
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