Legend Left crash Ride cymbal cymbal or ‘Small mounted Hichat tom Rim shot Stick on aw a Tom2 Snare A Stick Large tom Bass drum — Hishat | ! | | 4 —p— J =a = z — q = +Wee Rast weartess In the following chapter you will find a complete listing of 26 American rudiments, 21 Swiss (includ ing variations), 22 rudiments called New Innovations (including variations) and 17 rudi- ments (with variations) called Chopsbuilders— a total oF 86 rudiments. ‘They are presented here just the way Alan showed them to me, first individually and then as part of the Rudimental Ritual, The Ritual wll be covered in greater detail later in this chapter. Alan's method for learning and practicing the rudiments was to play each one from slow to fast. gradually and back to slow again gradually. in Alan's words, doing them this way would provide “conditioning” for the hands while at the same time add to your vocabulary. He would also stress that speed vees mot the important thing but that sound was. Ifthey don't sound good slow, they won't sound good when you play them faster. In my own ‘experience teaching, Ihave found that many stu- cents don't realy play them slowly enough. sug- gest a starting tempo of (J) = 40. ‘White studying with Alan, his students would work on three rudiments per week, He would give you the next three only when you demonstrated these satisfactorily. This method would have a cumulative effect whereby each week you would be practicing « greater number of rudiments. Once ‘you mastered one group of thres; you woud want ‘to spend more time on the new group while review ing end maintaining the previously learned ones. ‘When you try this method, by the time you have learned a considerable number of rudiments, it will be difficult to practice ther all every day. (Once you have learned the ritual this won't be a prob- Jem.) In the meantime, you may want to rotate through the previously learned rudiments aver a period of several days. For example: Day 1. Work on first 9=12 rudiments plus the nev ones you are on, Day 2. Work on next 9-12 plus the new ones, ete (Or try grouping them by type. For example: Day |. Work on all ruff type Day 2. Work on all lam type. Day 3. Work on all numbered rolls, ee have grouped them here the same way Alon {grouped them when he taught them to me. The three-stroke ruff. The single drag The double drag. eo" @ tir tte SOR TUR LAAL TER LR LAL ORAL OR “This radimene is pare of many ‘other rudiments and should be Played with a closed incerpreta- tion. In ether words, kaep the race notes low and close to the single stroke. Think on the beat This rudiment does not alter: nate. Playin each hand from sow to fst (gradually) and back 1 slow.‘The Drummer’s Complete Vocabulary Single ratamacue Double raramacue 30> 30 > tialtls cadets cee eee (RER L &RLRLR TREERE RL PRLERRERELR ‘Triple ratamacue - = ie aft Sas ae RRL ORAL Drag paradiddle 41 eo” - Drag pode 02 = Lesson 25 55 pees & = eee R LER LER RL RRL RARE ROLL Rte bRER EL LRRL RL PRL OR Blam ‘Flam tap Flam accent 3 3 | | 1 — jE SES eee == tR OER CR R®toou ERO UL RLORR OL RL AL‘The Rudimems Flamacue = Flam paradidale oe el _ os oF a LE — eee we rn re ‘Rob oR R Rt oR cou LOR L RAL Flamadiddlediddle =] SS TR LOR R LL Five-stroke roll on the beat Five-stroke roll off the beat Seven-stroke roll on the beat sitet aes RRLLRLLERRL Seven-stroke roll off the ben e roll off eat Nine-stroke roll taeedeae RRLLRRLLR LUERRLELRRL ot > > Heven-stroke roll ‘Thirteen-stroke roll aa ze ar pe Fifteen-stroke roll =SSa aw = sees sf T= A LLERRLERRLLRRE R L RLUERRLELRRLELRRL LRRLLERRLLRRLLR‘The Drummer's Complete Vocabulary Single paradiddle Double pane pee pa 5S -— = 4 RERRUERLE RLERLERR ERLEREL Double-stroke roll Single-stroke roll qa- 0 [5 —— a a “ pS ee eee “RR LO LOR R LL RAL LS L L R R L L R R L R te R L R L R Tap flam Patafiafla‘The Rudiments Flam roll 5 > Flam roll 9 Three-stroke ruff paradiddlediddle qo SS tlR L ROR OL L Four-stroke ruff paradiddlediddle Reverse flam accent Variation 3 3 3 gS Sa SS Root tR boo R RE RRL OR Lb ER OLThe Drummer's Complete Vocabulary Single tama Double atamafim Zz epnleaos niga gatas ae dee TER L RAL RRL R LER ttR CORE RAL RRL PRE R LER ‘Triple ratamaflam 7 1 | 4 } ee ee ee Sa TtR ttre ttR L R*®L RRL RAL RRL R LR Drag flam Flam double paradiddle Ee aod Sr ewe teR ORL RLCRELRRLERERLL. Lin UR RREORL Six-stroke roll Variation | > > — >> >> = ——— SS SS SS RO LRRLELR ERRELE RARLLRLERALLER EL LR ELULRRLE RLLRR LLERRL RLLERRER Variation 2 Variation 3 = = > > > >> == a: oe ee ee R LLERRLERULLRRLE RARLRLERRLERLE LRRELLR LE RRLELR CLLR LRRLELRLRR‘The Rudiments Also in triplets 4 R RR LL L LoL RR RR R LoeRE Rk L R R tR R&R R CR LL a8 L R TORR s R R L RRO & & T R LoL R Paradiddlediddle Variation 1 (2 bats) > > > > > RUERRLELERERRLL RLRRLLERLRRLLRLRR LRLLRRLERLLERR Variation 2 SS ee Se es ee eee ae 5 LRELRRLRLLRRLRLL Variation 3 RLRRLLRLERRLLRLRRLLRLERR LRLLRRLRLLRALRLLRALRLL‘The Drummer’s Complete Vocabulary Beane tesson ZO Four-stroke roll Triplet diddie 3 >> i> 3 Pe) Ors Se RRLEL LLRR RERLERLERLE RREL RRLL LRERRLRLRR LURR LLRR RRERRLEREL RRER LLRE RRERLRRERL Eh R&R LLERLELRLELRLER Triplet paradiddle 30> > aS — FE o— Sa —— R R tL R L RoR Look Double triplet paradiddle 7 ee 3 RR LR L RL RR Triplet flamadiddle 3 Rot RL OR LoL RL RL R L RL OL tL oR LER Lo RR Lo oR LER LE R L RR Drag triplet ‘Triple flamadiddlediddle SS = —= gece = ze == 3 aaa ee ae os RRL OR CLR Lo RRRLERRELERLE Three-stroke ruff with singles Four-stroke ruff > > > > Rin URL TRUER RLRL‘The Rudiments Five-stroke (singles) Six-stroke with singles > = > > >> RLR EL RLERLER ERE RERLRER ELRLERLERE LRLR LELRERERER Eight-stroke roll SS 6 => 6 RLRRLERRERLLRALL Flam da-da Da-da flam =— =— =— p= Ee CR oR L FE L RR RAE LoL ER Flam flam diddle FRRE R RRLER LoL Ro tLERER L RFRLRL‘The Drummer’s Complete Vocabulary Flama flama diddle lama flama flam flam TRELIRERR®LE RAE REL tR LER LERERAL RRL RRLRL Flama flam flam diddle Flama flam flam flam flam SSS SSS - SS SS Teele ee eee er eer aa ERLERER ELA RACAL RR OR LERERALALAL RALALERER Gary's Flams ~ > > > > > _ co — oo mo Ps Psa Co TRERERALRLRL ER ER ERALRE RL ER ER ER EL > > > > > > = Se Ta Ta Daa Pa Da gr aa Tg aa a RE Rt eR tRERAL AL RE tRERALRL ER ER RE RL Arvin's DiddlesIn this section you will find Alan’s famous Rudimental Ritual. After you have learned all of the rudiments in the previous section, you should review them all with brushes. The ritual is to be played on the drumset with brushes over a bossa nova foot ostinato. There are two important things to remember while playing the rudiments with the brushes. The fist isto play on the tips of the brush- ¢5 (rather than the fan section). The second is to be sure to pick the strokes up (brushes don't rebound the way that sticks do). This will require a firm grip and the use of wrist strokes, Once you have done this review, you will be ready to begin memorizing the ritual. Memorizing is the key word here. Ifyou try to learn the ritual by The Rudiments reading it, it wil take much longer to commit it to memory. Work from the CD recording to help with mem orizing. The rudiments are all arranged in four- and eight-bar phrases. Use these phrases to help with your memorization, Be aware that Alan applicd cer- ‘ain formulas to various rudiments which oceur fre quently. For example, for rudiments in 3/4 time, use this formula: four bars of 3/4 plus one bar of $4 ‘equals four bars of 4/4. For example, four double ratamacues (4 bars of 3/4) rounding off with one triple ratamacue (one bar of 4/4) equals one four bar phrase in 4/4, Use the CD recording and your ears building phrase by phrase, and witha little time and effort the ritual will be yours for life. wiaitalae RLRRLREL RAL pa on te GG GE B.D. HH. simile eae) ba ee ead = UR L RAL RELRL RERL RR LR LARL RULR Double Drag Fe BRE R LCR L RRL Single Ratamacue * 3 = ae 7 tik LR OL RAL Double Ratamacye 3 steely: a URURERE > go> SEP er Prepress FEURERURURER LRALRRLR ER CR EER LER LR L 3 > z= 3 _-_|. 4 [reer reese 2 RRL RARER UR MERE RE RRERRERL RERUURL RL RRL ARL RRL RL R ‘Triple Ratamacue 3 = 3 > = jr —-4 = 2 (Eee ee ie i ee = Zz —H a UR UR UR LR OL RAL RAL RRL OR OL OR