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hey guys,
i would love your opinion on this subject. i recently had a lesson with a very good player in my area. while discussing the rudiments he said there are only 9 you really need to know for drum set. they are as follows;
*5 stroke roll
*7 stroke roll
*9 stroke roll
*single paradiddle
*double paradiddle
*single paradiddle-diddle
*flam accent
*flam tap
*swiss army triplet
he DID stress that you should be able to "play the S#*T out of them, i.e. clean, fast, even stick heights, placing accents all over, etc. so, i am wondering how all of you feel about this advice. are the others pretty much useless?
i realize that it certainly wouldn't hurt to know the rest of them, but will you use them (realisticly in kit setting).
thanks!
by the way, the teacher is a nice guy, let's not be to brutal on him for those of you who strongly oppose his teaching methods. also, this may be helpful to note. i am NOT a beginner. i am rather advanced player looking to others to further advance my playing and practicing habits.
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I would say that every rudiment can, and has been applied to the drumset. Perfect them all.
-Ed
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I'd say some obviously lend themselves to drum set better than others, but there are many more that I'd add to the list. The L Swiss Flam Drag (the blushda) is another obvious pattern. The reality is that there are countless sticking patterns that work well on set. The ones you choose to develop will determine a great deal about your ultimate development and what sort of things you want to play. While the listed patterns are all good they might better be better thought of as a list of rudiments already well explored on the kit.
Brad
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I agree with the ones you listed as very important and to know WELL but add to that the 6 stroke (esp. triplet feel), SINGLES, the rest of the flam family, and some drags for finesse. Also the five-a-didles I've gotten alot of mileage out of and some that you don't see so much but hear from the greats like RlRllrLrLrrl. I'd have to emphasize the 6-stroke esp. since I've used it to reinforce jazz feel when broken down and built back up. Ex., to start off I show the student this RLL, then LRR. After that is understood we can look at RRL, LLR and put them together to form RllrrL (capitals are accents of course), when repeated this is a very nice fill, and you can accent on toms, cymbals (w/BD) or any combo. A simple jazz pattern can be morphed from understanding these patterns RllRlRRllRlR. RH is doing the "dee-dee-do-dee". Flams I think you should try to master all of them, especially singles iR rL and the pataflafla. [img]biggrin.gif[/img]
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Ok, I'll stick my head above the parapet. It's a quiet day, so I need a little excitement.
On the drumset, I don't buy any more than five. Anything can be built from these fundamental building blocks:
- single
- double
- paradiddle
- flam
- drag
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my favorite and most over-used ones are...
the 6 stroke roll played in triplets and 32nds.
paradiddlediddle weckl style.
L & R swiss triplet and of course the blushda, blublushda, blublublushda (5 groupings), and the reverse blu to the 9th power blushda.
<font color="#a62a2a" size="1">[ August 24, 2004 02:18 PM: Message edited by: shedder ]</font>
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I'd say he gave you a very good list. The only thing I'd add is inverted flam taps. (so RlLr etc etc, flamming the upper case note)
That works the pop up motion as well.
Good luck, sounds like a great teacher.
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thanks everyone!
you know, i found myself thinking, "why are there 40 rudiments and someone tells me not to waste my time with 30 of them." it's great to have a place like this to get TEN 2nd opinions!
i thought i would post a tune from this teacher of mine. this is his fusion band. these guys are all.... like.... twenty years old! (thats young to me seeing as how i'm rapidly approaching 40!)it's recorded live (decent quality) here in chicago. he takes a nice little solo at about 5:20.
enjoy
and thanks again all!
peter
http://s2.yousendit.com/d.aspx?id=CC...4AD6AB1DB133D5
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