Rudiment: single-stroke roll

     Rudiments are the basic vocabulary of the drums. They were created many years ago by
     the military snare drummers and are essential for developing your hand technique. The
     first rudiment we'll work on is the single-stroke roll. The single-stroke roll uses one stroke
     per hand: R-L-R-L (left-handed drummers can reverse the sticking L-R-L-R). Start
     slowly and work on the evenness of the roll. Don't be on a hurry to play fast! Speed
     comes later, when the technique is executed evenly on a consistent basis.

Single-stroke roll in quarter notes

Single-stroke roll in eighth notes

Single-stroke roll played in different note values
     Make sure to count and listen for consistency. Don't play too quickly at first; walk before
     you run!

Basic stroke technique

It is very important that your right-hand strokes sound the same as your left-hand strokes. Here are two suggestions for getting your hands to sound even.

     1.Make sure that your hands begin their strokes from same height, and that they return to
        the same height. If one hand is higher than the other, they won't sound even.

     2.Make sure both hands strike the drum with the same intensity.

Don't squeeze or pinch the sticks as you hit the drum. Any unnecessary tension will result in fatigue, cramping, or blisters. Let the stick do the work for you. Imagine the sticks like a basketball.When you throw a basketball down, it bounces back to you. The speed in which it returns is in direct relation to how much velocity was used in the initial throw. The same goes with your sticks. to freely rebound so that you are more concerned with the initial"down" than the "up."The"up" will take care of itself because of the rebound. Try to avoid pressing or choking the stick into the head as you hit and you'll have great results!

As you play the snare drum , or any other drum in your set, strike the center of the head to achieve a full drum sound. Make sure that your strokes travel in a straight line directly down to the head. As you practice, watch your sticks so that you don't hit them together.

Snare Drum Technique

Holding The sticks

     There are two ways of holding the sticks. Try both and find which one works one works for you.

Matched Grip

     Matched grip is a very natural and effective technique in which both 

     hands hold the sticks the same way.

     Grip the stick between the thumb and first joint of the index finger. 

     Hold it about a third  of the way, about

     five inches, end of the stick. Use the other three fingers to help control

     the stick.

     Make sure to avoid any unnecessary tension in the hand, using just 

     enough to hold on to the stick. Keep a gap open between the thumb

     and first finger.

     To play, turn the hand so that the back of the hand is facing upward. 

     Think palm down.

Traditional Grip

     In the traditional grip, the right hand holds the stick as in the matched grip, while the left hand holds the 

     stick in a sideways fashion as described below. (If you are left-handed, you may want to reverse these 

     instructions.) This technique originated from military snare drumming in which the snare was slung around 

     the neck and held to the side.

Step 1. Place the stick between the thumb and index finger, with one-

             third of the stick (the butt end extending beyond the hand.

Step 2. The index and middle fingers should rest lightly on the top of the

             stick to act as guide. The stick should rest across the top of the

             ring finger for support. The pinky should rest against the ring

             finger.

The right hand holds the stick matched grip, the left hand traditional grip.

Drumset Notation

The following table will help you with the drumset notation used in this website.  Drumseto notation is very logical and visually easy to understand when you remember that all of the instruments appear on the staff according to their relative highness and lowness:
     *The lower-pitched instruments like the bass drum appear on the lower lines and spaces;
     *The higher-pitched instruments like the ride cymbal appear higher up on the staff. The stepped hi-hat,
       because it is played with the left. foot, is the only exception to this rule.

Notice that the stems ho up for instruments played with the hands, and down for instruments played with the feet.

* It is a good idea to have two crash cymbals, and some of the exercises in this book call for two.

These are the symbols indicating the different sounds used when playing the hi-hay cymbals.

The notation for the various instruments of the drumset will be reviewed as needed throughout the book. Use this page as an easy, at-a-glance reference.

THE METRONOME AND READING EXERCISES

THE METRONOME
     A metronome is an adjustable device used for measuring musical time.A metronome
     can help you keep steady, accurate time. It is especially useful for practicing because
     you can increase or decrease the tempo (speed).

     The exercises in this website will have tempo markings expressed with number that you
     will find on your metronome. The numbers represent the number of beats per minute. In

    , this tells us the speed of the quarter notes. For example:= 88.

 
     These tempo marking are only suggestions. If you fell uncomfortable with an
     exercise, fell free to play it slowly until you become more comfortable with it. Then
     increase the tempo bit by bit as you gain greater control.

READING EXERCISE NO.1
     The following reading exercise will make use of all of the note and rest values you have
     learned. Take your time strive for accuracy. Be sure you count as you perform this
     exercise. On the CD that is available for this website, there will be a metronome playing
     along with the exercise on all four brats. This is referred to as a click track.
 = 88

*Numbers in parentheses correspond to rests in music. They are used to assist in counting the beats.

The repeat sign

     A repeat sign is a way of saving space in written music. When you come to a repeat sign, go back to the beginning and play again from there

    Sometimes, only part of an exercise is repeated. When that happens, repeat signs surround the music to be repeated.  When you come to the left- facing repeat(with dots on the right side) and play that section again, Then, if there is more music, continue past the left-facing repeat.

Reading exercise No. 2

     This exercise incorporates everything you have learned to this point. There are stickings indicated to tell you which hand should play which note.

          R = Right hand

          L = Left hand

     If you are left-handed, simply reverse all of these stickings and start with the left hand. The counting is not written in the music, but as with Reading Exercise No. I, count aloud as you play.

NOTE AND REST VALUE TABLES

Here are two charts to help you visualize the different note values we have just covered.

Below the note values are the symbols for the corresponding rests for each note value. A

rest indicates silence.When you come across a rest, simply stop playing for the values of

the rest. Rest always remain part of the count, so be sure to give each one its full value. 

NOTE VALUES

     Now let's take a look at the different note values that are used in music.

WHOLE NOTE
     The largest note value we cover is the note lasts for four beats and it
     takes up a whole measure in time.

     To accurately play a whole note.and all note values, you will need to count. To play a series
     of whole notes, count 1,2,3,4 over and over while playing only beat one

HALF NOTE

     A half note lats for two beats. The whole note is divided in half. To play a series of half

     notes,we play two evenly spaced notes in each measure. Count 1,2,3,4 and play beats l

QUARTER NOTE

     A quarter note lasts for one beat. The half note is divided in half, or you can think of the

     whole note being divided into four even quarters. To play a series of quarter notes,

     count 1,2,3,4 and play on all four counts

EIGHTH NOTE

     When we divide quarter notes in half you get an even smaller note value called an eight

     note. Eighth notes are easily recognized by the flag. Group of eighth notes are attached 

     by a heavy line called a beam.

     Count eighth notes1-&*,2-&,3-&,4-&.

     * = and

Basic Terminology and Note Values

THE STAFF, MEASURES AND TIME SIGNATURES

THE STAFF
     Music is written by placing motes on a staff of five lines and four spaces. The Symbol at
     the beginning of the staff, which looks like two vertical lines. is called a percussion clef.
     The percussion clef tells you that the music on the staff is for drums. Each line and
     space represents a different instrument in the drumset.

MEASURES

     Beats, the most basic units of musical time, are grouped into measures of equal length-

     that is, each measure contains the same number of beats. Measures are marked with

     vertical bar lines. Short sections and excerpts end with a double bar line

TIME SIGNATURES

     At he beginning of every musical piece there is a time signature. A time signature tells you

     how to count the music. The top number tells you how many beats are in each measure;

     the bottom number tells you which kind of note gets one beat. The most common time 

     signature

THE DRUMSET

This is a very basic drumset. Some drumsets have several tom toms, two bass drum or other percussion instruments, such as a cowbell. Over time, your set will grow and change with your interests. Note that some of exercises in this website call for two crash cymbals.

INTRODUCTION

This is the first website in a three-part series intended to take you though the many contemporary styles and techniques of modern drumming. I sincerely hope you will enjoy this website and find the exercises and ideas useful. There are many challenging ideas and examples ahead, so be patient and work consistently. You'll be rewarded with excellent results.

ํYou can use this website with the guidance of a teacher or for self study. It starts at the most basic level, beginning with reading drum music and fundamental snare drum technique. By the end of the website, you will be playing beats on the whole drumset and be ready to play in a band.

ABOUT THE AUTHOR

Pete Sweeney has been a professional musician since 1983. He studied with Dave Calarco and Joe Morello and attended the Drummer's Collective in New York City.

Pete has been a faculty member at the National Guitar Workshop since 1993. He has performed with many great musicians such as "Dangerous" Dan Toler, Duck Robillard, Mick Goodrick, Larry Coryell, Nice Brignola, Cary DeNigris and Frank Gambale. He has performed concerts with Robben Ford, Andy Summers(formerly of the Police), and Laurel Masse (of the Manhattan Transfer). Pete has performed on two Grammy nominated CDs with Jay Traynor and the Joey Thomas Big Band, and can be heard on the soundtrack of the Mirimax film"The Castle."

Pete Sweeney endorses Mapex drums, Aquarian drum heads, Vic Firth drum sticks and Sabian cymbals. He can be contacted via E-mail at E-mail at P9565@aol.