Drum Lessons Online

Single Stroke Roll

The single stroke roll is the most basic and essential rudiment of drumming, simply comprised of alternated strokes (r,l,r,l,r,l,etc.). Ideally you want to get the most out of the stroke with the least amount of effort and resistance. Developing a smooth, flowing, natural stroke will result in great tone quality, speed, accuracy, endurance, and overall comfort. The goal of this rudiment is to master the combination of grip, hand/stick motion, and natural rebound. It is the cornerstone of all drumming and many drummers underestimate the importance and necessity of properly developing this rudiment.

Double Stroke Roll

The double stroke roll is the second of 2 essential rudiments that all drumming is based on, with the single stroke roll being the first. The double stroke roll is comprised of doubles on each hand (rr,ll,rr,ll, etc.). Ideally the same concepts apply to doubles as singles. You want the most out of the stroke with the least amount of effort. Doubles are more difficult to develop and tend to be one of the most difficult concepts to grasp correctly. There are roughly 3 zones; slow, medium, and fast tempos, that each dictate firmness of grip and the amount of wrist, finger, and arm contribution. Many drummers throw down one stroke and let the 2nd note just fall or drop in without much, or any, assistance. With doubles (a.k.a. rolls), you want the 2 notes of a double to sound the same. This sounds stronger and more even.

When working on doubles, always start slowly to develop the correct hand motion and stick response. Let the 1st stroke rebound fully while following that rebound with the whole hand (don’t just open the fingers). Here’s where most issues come into play….the second note of the double… Play the second note of the double with the same combination of wrist and fingers as the first and let THAT note rebound, as well. This keeps you from choking and/or accenting the second note. It also aids in proper spacing of the second note. Clamping down on the 2nd note often causes the 2 notes to be too close together sounding segmented and uneven. Rr  Ll Rr  Ll vs. R R L L R R L L.

As the tempo increases, the stroke will get smaller and the motion in the hands/fingers becomes more “reflexive” and subtle. If you’ve worked the slow doubles properly the faster rolls will feel “easier” and more natural.

5,6,7,9,11,13,15 and 17 Stroke Rolls

The 5, 6, 7, 9, 11, 13, 15, and 17 Stroke Rolls all deal with the same technical issues. They all are comprised of a series of doubles with a single accented release. The doubles should rebound naturally with a full, even sound and release with a relaxed, accented (louder) single.

Buzz Roll

The buzz roll is another type of roll. With a buzz roll the goal is a smooth, connected sustain. The individual hand/stroke consists of very fast multiple bounces. Basically, you leave the stick on the head with just enough pressure in the hand to get a sustained “buzzing” sound (hence the name) without choking or letting the buzz “die”. This takes some experimenting with the firmness of grip, the amount of pressure down into the head, and the length of the buzz.

Strive for each hand to sustain until the next hand plays. Don’t let each hand “die” before the next hand plays. Avoid any space between notes. Lastly, work on making each hand blend seamlessly with the other so there are no accents or audible pulses. It should sound like channel ‘0’ on your TV.

Single Paradiddle

The single paradiddle (or paradiddle) is probably the most popular rudiment, for whatever reason. There are non-drummers, even non-musicians, that seem to know this particular rudiment and it’s sticking. A paradiddle is just a simple combination of singles doubles (Rlrr Lrll). Traditionally it is played with an accent on the downbeat of each one, but can be played with no accent or multiple and displaced accents. Play the accented noted with a slightly higher stick height and don’t slam it into the head. Keep the accent relaxed with no ‘squeezing’ or unnecessary tension while playing the remaining 3 notes evenly spaced at a lower dynamic/height.

Double and Triple Paradiddle

Both the double and triple paradiddle are just variations on the single paradiddle. They are just a combination of singles and doubles. The same concepts apply to these as the single. All notes are evenly spaced with an accent on the downbeat and the remaining notes at a lower dynamic/height. Again, it can also be played with no accents, multiple accents, or displaced accents.

Paradiddle-diddle

The paradiddle-diddle is yet another variation on the paradiddle. The paradiddle diddle is just a single paradiddle with a second set of doubles (Rlrrll, Rlrrll). The paradiddle-diddle does not alternate, but can be played starting with either hand. As with the other paradiddles, it is traditionally played with an accent on the downbeat but can be played with no accents, multiple accents, or displaced accents.

Flam

The flam is the first and most basic of the “complex” rudiments. Complex meaning it is made up of multiple types of notes that are paired together to make one note or one ‘sound’. It is comprised of a grace note and a primary note. A grace note is a subtle ornament or embellishment that is paired with a primary (regular) note. A grace note is written as a much smaller note and, in most cases, should be played as it looks. The grace note of a flam should be played lightly without lifting the stick while the primary note is a full stroke. Flams sound thicker and fuller than a single note. Flams are used for emphasis, accentuation, and ornamentation.

The most common problem people encounter when playing flams comes from lifting the grace note too high and playing it too hard. By lifting the grace note it strikes the head later, which moves it too close to the primary note. This loses the intended effect of a flam and makes it nearly impossible to play flam patterns. Keep the grace low and light!

Flam Accent

The flam accent is basically a triplet (3 note grouping) with an accented flam on the downbeat. The same rules apply to the flam in this rudiment (2 heights, light grace note, full primary note).

Flam Tap

The flam tap is a hybrid of flams and doubles. It’s a series of doubles with a flam on the 1st of the 2 notes. Basically let the primary note rebound as you would on a roll and keep the grace note low, light, and clear. If you were to break each hand down and analyze it, once you started the flow of flam taps, the grace note technically becomes a 3rd note following the double (lRR rLL lRR rLL). Don’t over-think or overplay this rudiment. Let the Primary note taper with each rebound and be sure to strive for a clear flam and it will ‘play itself’.

Flamacue

The flamacue is one of the more difficult rudiments because it requires a great deal of stick control due to its awkward nature. While the flam is played with a light grace and full primary stroke, it is not the strongest accented note of the rudiment.
Keeping the integrity of the flam at an overall lower height followed by a higher and louder accent goes against the natural instinct of the flam being the strongest note. Traditionally the flamacue does not alternate, again making it more awkward.

Flam Paradiddle (Flamadiddle)

The Flam Paradiddle is a combination of a paradiddle and flam. It is a paradiddle with an accented flam on the downbeat. The grace note follows the double of the paradiddle and requires special attention to insure it is lower, lighter and strikes just before the downbeat/primary note.

Pata-Fla-Fla

A Pata-Fla-Fla is simply alternated 16ths with an accented flam on the 1st and 4th note of each beat. The quick alternated flams require great control of the heights from grace note to primary note and vice versa. Work on alternated flams a lot before attempting this rudiment.

Flam Drag

A Flam Drag is a flam accent with a diddle on the 2nd note of the triplet. The problem area with this rudiment is going from the grace note to the diddle. The diddle (double) must be an unaccented but strong double that is spaced correctly while the grace note is low and light.

Swiss Army Triplet

A Swiss Army Triplet is a three-note hybrid of a flam tap and a single. This rudiment doesn’t alternate. It can be played starting with either hand.

Single Flammed Mill

A Single Flammed Mill is a hybrid of several rudiments. It’s a flam tap followed by 2 singles. It turns into a kind of paradiddle with an accented flam on the double. With the more complex rudiments the need for properly developed basic rudiments becomes glaringly obvious. You must have total control of all the individual elements (flams, doubles, singles) before combining all of them with any success.

Ruff

A Ruff is very similar to a flam in that it is comprised of grace and primary notes. With a ruff there are 2 grace notes that function together as a type of delicate diddle that releases with a full primary note. The doubles should be played like the grace note of a flam, low and light, followed by the stronger primary note. The grace notes should always be 2 clearly articulated (audible) notes, regardless of tempo or dynamics. The most common problem is buzzing the grace notes. Keep them open!

Single Drag

The Single Drag is a ruff followed by an accented note. The ruff here consists of 2 lower, light grace notes and a primary note. The accented note is the single after the ruff. Control the heights and keep the grace notes open.

Double Drag

The Double Drag consists of two ruffs followed by an accented note. The two ruffs should sound the same. Typically the double drag will be played in a dotted rhythm, as seen here. However, it can also be played straight.

Lesson 25

The Lesson 25 is a simple rhythm (1E&) with a ruff attached to it. It’s really just a rhythm/figure but somehow found it’s way into the standard rudiments club.

Drag Paradiddle #1

The Drag Paradiddle #1 is a combination of a single drag and a paradiddle. The drag is inverted here, meaning it starts with the accented single rather than the ruff. Also, the paradiddle is unaccented.

Drag Paradiddle #2

The Drag Paradiddle #2 is a combination of a double drag and a paradiddle. The double drag is also inverted here, meaning it starts with the accented single rather than the 2 ruffs. The paradiddle is unaccented here, as well.

Ratamacue

The Ratamacue is a challenging rudiment as it involves 16th note triplets. Great control is needed to flow from the ruff to the 16th note triplet that releases to an accented single. The transition from the accented single to the delicate ruff is one common area of difficulty. Be sure that the accent is not forced, slammed, or squeezed. It should be played as a relaxed rebound that smoothly drops into the triplet as opposed to having to restart after a harsh accent.

Double and Triple Ratamacue

The double and Triple Ratamacue involved the same technical difficulties as the Single Ratamacue. The Double and Triple are difficult because of the repeating ruffs. There is a tendency for the hands to tense up on the repeated grace notes following the accented single. Keep the accent relaxed with a rebound quality and this will help in avoiding tension.

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“well i found the link to your site on drummerworld.com and it was what i was looking for at first glance. i had been playing drums for years but was a guitarist predominantly for many years so most of what i was doing on the kit was at band practices during downtime and in my room to cds i like.. i started pursuing drums more seriously a couple of years ago, and tried taking lessons locally because i wanted to play with more control and intention. i felt like if i was just going for it, sometimes, actually most times, i would overplay, so i wanted to have enough control to be able to go crazy when i needed to, but most of the time play something that i could hear in my head first and that sounded good with the song without having to feel like i was just going for it…

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