Tag: snare

Two Drumming Myths that Are Probably Hindering You from Appreciating a Lot of Music

James Christian
two-myths-pic
“Fight between Satyr and a woman,” a sketch of Augustin Hirschvogel

This past week, I have seen several Internet comments that have made me realize just how brainwashed… um, “preconditioned” some of us are in our understanding of performances, especially as related to technique and sound quality.

I grew up in the American rudimental drumming scene, just like many of you who are reading this article.  I always enjoyed hearing other drummers’ thoughts on technique, sound quality, practice strategies, etc.  However, I did not simply listen to those from the drum & bugle corps/marching band world.  I also enjoy learning about fife drumming, pipe band drumming, Basel drumming, etc.  I have found the more you are aware of how other people do things, the less adamant you are that your way is the only right way.  (Though sometimes, a certain way is the best way for what you want to accomplish—and that is the key.)

In this article I would like to dispel two myths about percussion commonly found in American percussion education.  If you can Read more “Two Drumming Myths that Are Probably Hindering You from Appreciating a Lot of Music”

Drum Set Exercise: Bass Drum 16th Patterns

James Christian1 Comment

drum-set-0001-bd-16thsClick on the image to enlarge or click here to download in PDF format.

This exercise takes a basic rock groove and goes through all 15 possible 16th note-based patterns on the bass drum.  For beginning players, you should play each measure several times in a row until you have it down solidly.  This will help you build a strong sense of 16th note timing on the bass drum.  For more experienced players, this exercise will serve as good practice for changing bass patterns quickly.

The final line serves to give a satisfying conclusion to the exercise.  The final three beats are written with slash notation.  You can either give yourself a rest or create your own fills as you repeat the exercise.

To make this exercise groove, it’s essential to keep steady time.  The final few measures are certainly the most difficult, so it’s important that you do not start the exercise too fast—or your foot will struggle to keep up at the end.  Pay careful attention to keeping every note in alignment.  Ultimately, each measure should groove, and you should have fun with it!

Snare Exercise: Stutters

James Christian

snare-0002-stutters-exerciseClick on the image to enlarge or click here to download in PDF Format.

I’ve got a brand new snare exercise for you today.  I came up with it several years ago just for fun.  It has been in my “private collection” of exercises that I use sometimes for individual practice and one-on-one with students, but I’ve never shared it anywhere before now.

This exercise focuses on stutters—that is, isolated diddles.  These have a cool “stuttered” sound (hence the name), but they are also really good for focusing on your diddle quality between each hand.  The 16th note check patterns help to keep your timing in check.  Be careful to keep each “stutter” in time.  If you play this with other people, it will be a really helpful exercise for checking that your diddle interpretation is the same.  The last measure is particularly tricky to play cleanly with others.  Happy stuttering!

Snare Exercise: Shifting Paradiddles

James Christian

snare-0001-shifting-pima-paradiddles Click on the image to enlarge or click here to download in PDF Format.

Throughout the week, we will feature exercises for different percussion instruments.  Here is our first exercise for snare drum.  It utilizes paradiddles and three paradiddle variations—inverted paradiddles, single mills, and alternating quads.  These last three rudiments have been around for a while, but they have never quite gained the same popularity as their grandfather, the single paradiddle.  Nonetheless, they are all quite versatile, and they make for a fun exercise.

As you play this exercise, pay careful attention to distinguish between your accent and tap volumes.  As the tempo increases, the more difficult it is to bring out the accents, especially on the alternating quad.

A fun variation on this exercise is to play it with zero accents.  Make it sound as smooth as possible.  As you get it faster and faster, it should sound like a smooth roll.

Check back here regularly.  We will look at different applications of this exercise on various percussion instruments throughout the week!

Welcome to Rudimental University!

James Christian

Greetings!  My name is James Christian, and I am the founder of Rudimental University.  I am a percussionist, teacher, and author, and my specialty is rudimental drumming.  I am best known for being the seven-time DCA multi-tenor drum champion (2001-2007).  However, I do not consider myself as merely a “tenor drummer.”  I am a drummer and a percussionist, and I love every aspect of percussion.  I hope this site will provide valuable resources and inspiration for both percussionists and percussion instructors.

The site’s name, Rudimental University, has its origins in rudimental drumming, but I intentionally did not name it Rudimental Drumming University.  All percussion instruments have essential rudiments that must be learned, and they can all be taken to extremely advanced levels.  This site is a celebration of the rudiments of all percussion.  I chose to call it a “university,” because I want this to be a place of learning, sharing knowledge, and being exposed to new ideas.  I plan to bring along other percussionists who will offer different perspectives—including those who may disagree with me on certain issues.

I have big plans for Rudimental University, which I will reveal over the weeks, months, and years to come.  Go ahead and bookmark the site, and check back over time as new features are added.  I hope you will join me on a new percussion adventure!