When playing isolated full strokes, the only time the stick is not in motion is when it is resting in the "up" position. When full strokes are played consecutively, the stick will then never be at rest, as it was in the up position; the stick WILL however pass through the "up" position preceding every throw down. The following guidelines will help to perfect the Full Stroke: The 5 Full Stroke Rules . The stroke starts and stops at the same height. . Never pick up the stick, only throw it down. . The stick should rebound up at the same speed it was thrown down. . Don’t let the back of the stick hit the palm of the hand (except lightly at low stick heights). . Avoid using the arm. NOTE: It is beneficial to practice all single stick height rudiments and exercises using just the first finger (or just the thumb for traditional grip) with the sticks stopping and starting past vertical. These “first finger only” full strokes will not only build up the all important "trigger finger", but they'll also help. to affirm that the fulcrum is working properly. The exercises, "Eight on a Hand," and “Purple Singles” are the preliminary full stroke exercises. When playing these consecutive full strokes the stick will always be in motion flowing smoothly up and down in your fulcrum. Play the exercises with the sticks turning up to vertical and then further develop the other stick heights /dynamic levels. This exercise can be played with all of the strokes starting and stopping in the “up" position, or with the down stroke technique applied to the last stroke played on each hand in order to stop the stick in the set position. Eight on a Hand Hen Ener n Risen pi cecerererE Dara reenT=) as Purple Singles R> ey —> n> “> an) L aL)Double / Triple Beat _aE Lain Rha a t= a L> R—> aa! AO FSP Fe ee Se a aoa peewee eae ewe awe eve ee IRR EE wy b> Inverting Diddles apps eeeeeee RS as @Rin> (LL > GLRR> "GRR > -15-The remaining notes are all to be played with the full stroke technique. It is helpful to think about Bachcent (or an accent/tap exercise) as eight on a hand switching back and forth between two different dynamic levels/stick heights. Play the exercise with the accents turning up to vertical, and the taps played at d low 3” height, (these are the “accent/tap" heights that will be referred to throughout this book). Make sure that the stick does not rebound any higher than the height of the next note to be played and that the last stroke on a hand is stopped down in the proper set position. F=Full Stroke D=Down Stroke U = Up Stroke Bachcent PRPRFFEFD DFRFFPFFEFFD apsBachcent - Variation A. FRRPPPP PPP EFFDD DFPFFFFFFFFFFDD ep <> an TH EFDFIFFFFPFFFDD RREFDFFRFFFFFDD Cc i> @p> “D> ep “> aD cH ap > RD cD ap

RD cD PRUPEPEPEP ves 3 0 Ve FPRRFUFFFEFEFEDD Rp aH aD cn FRRRRFUFEFEF FRFFFRFPUFFFEDD RL cH an <> FRRP RFR RRFUFEDD FRRFFFRFRFFFFUDD D> TD eD— cH FRRFRRFFRFRFFDD D ep TRH ® -19-14, Triplet Timing - 1 Note Chek Pattern ® b> e rs a ® a ® ae te oR we on ae on ee oe oe ne we oe ae 15, Triplet Note Dropper Check Pattern aD GRLRD-> ® 8 ©) GURL L 16. Quarter Note Triplet Note Adder Check Pattern A = Check Pattern B on oe pe ee oe eR er ® fF RD LR ep tR? lee: -31- ae om ee Be on aeMonkey Singles ~ > => z—> TR D> RL m—> TREE L—> ELRL R—> TRERLR L—> RLELEL of a ee ee ee z—> a> ~—> @b—> zr G—> t> &D—> Fe ee ee ee ee ee ee ee ee ee ee ae eee eee eee eee sere eeeeeeee eo see eee eeeeeeee | 2 eeeeeeeeeeeeee| Ra Tt a> ro T&D —> SSS SS SS SS —davedsevdeeeaeee eeeeeeeeeeeeeee | oe eee eee ee > ri TRL) —> SS Se ore oS SS Sea ee eee ER a> Tt a> R—> oR—> T—> &D—> om ESS ee Fao oe ee ee baa a eee oe oa ee z> a> ~—> aD a> “> b> “D> z—> TREE L—> RLERL R—> Tk o> RDNOTE: Buzz rolls should be played at a certain rate of downstrokes, or "primary strokes." The tempo will generally dictate the note grouping used to achieve the smoothest buzz sound. Keep in mind that faster and/or higher buzz strokes require more pressure into the drum than do slower and/or lower buzz strokes. The following chart should serve as a guide for primary stroke rates as they relate to tempos: ep 1H Land 1 quintuplets > ie) and 1 sixteenths @ D> oR land 1 triplets 30 3 eb 3) 1and 1 eighths 685A Ga Bs I practice refer to the development exercises for the itute buzz strokes for the diddle: 38 -Single Stroke Seven Builder A peas SS lg as @LRLRLD—> RL @RLRLRD> Single Stroke Seven Builder B 3 E> ERE Single Stroke Seven Builder C ppt. a en a> L> RLRLRLR LRLRLRL R—-> | L—> RURLRLR LRLRLRL 6 fifi a fe a eee = petal : ‘l] “a> LS R> L> RURLRLR LRDRERL RLRLRLR LRLRLRL Multiple Bounce Roll Rudiments The first of the two multiple bounce roll rudiments is the buzz roll. The buzz roll contains an unmeasured amount of rebounds per down stroke. The key is to throw the stick down toward the drum and then push the stick into the head in a manner that virtually stifles the stick’s natural rebound and creates many (or multiple) rebounds. The result of these smothered strokes is the "buzz" sound. These buzz strokes are to be played hand to hand leaving no gap of buzzing sound between the two hand’s buzz strokes. The key to playing a quality buzz roll is squeezing the stick with the end of the first finger underneath the fulcrum, While the fingers generally should remain on the stick, at very low stick heights it is sometimes helpful to not use the second, third, and fourth fingers at all. Performance Tip: When playing buzz strokes at fast tempos, more downward force through the head will be required to maintain the closed buzz sound. 4, Multiple Bounce Roll slow medium fast medium slow O gee 18 pee 30 gee. 45 aoe 80 ge. r T T T 1 Play with wrist, Play using Play using Play using Play with wrist, adding light pressure ‘wrist for initial forearm for initial ‘wrist for initial adding light pressure ‘mainly from first finger downstroke - press downstroke - apply downstroke- press mainly from first finger under fulcrum, into the head with smusch pressure into into the head with under fuleram, all fingers, the dram with, all ingers, fingers. -37-The second of the two multiple bounce rolls is the triple stroke roll. The triple stroke roll consists of three consecutive full strokes on a hand. It is important to use the wrist and fingers for all three strokes on each hand, do not just squeeze with the end of the first finger underneath the fulcrum and rely on bounces. If your hands start to tighten up at faster tempos, then back down the tempo and get quality repetitions at a tempo where you can practice correctly. 5.Triple Stroke Roll sec. 15 f= 30 fa 45 aa 60 fe. T T T T 1 ‘Triple Beat AG a ee TG ES 7 5 7 (RRELLL—> (LLERE) -39-Sextuplet Rolls 1 & 2 Hand pay Aca aie >a es @D—> ©R 4and 4 (triple) qe a ay Duple Inverted Roll Jam LLB GERD 7 ES + 53 =a ae Saas Lae @ D> «D> aL L D> ee «2 TERED | ‘ ates “rd * SEL BEES a A aarp Ta sets TE 8 and 25 (ipl7. Five Stroke Roll stow medium fast medium slow Occ. 15 sce. 0 ec, WB sec. 60 sec, ; Play both beats Play frst beat of Pray din with Play first best of Ply both beats ofdiddles sing __diddles favoring weit, forarms pumping, idles favoring wnst, of didles wing sainly wist-stop.supportsecond bests and fingers supporting support second beat’ mainly wrist stop thestickafter _withfinger stop the the second stoke stop with fingers stop the the afckafter the ace sckaller the thesk fer stckalter the the accent coe the accent accent Five Stroke Builder A REE Ry RL GLE exD ate &xB ED Five Stroke Builder B LR EEL BLE GRE RER ERE 8. Six Stroke Roll f slow medium fast medium slow 0 see. 15 sec. 80 sec, 45 see. 60 sec. L I { | i r T r T 1 Play both beats Play first beat of Play diddies with Play first beat of Play both beats of didales using iddles favoring wrist, forearms pumping, _diddies favoring wrist, of didales using mainly weit - stop support second beats and fingers supporting support second beats’ mainly wrist stop the stick after with fingers stop the the second stroke- stop with fingers - stop the the stick after the accent. stick after the the stick after stick after the the accent. | accent. the accent, ‘accent, Performance Tip: For rhythmic accuracy with tap rolls (rolls that start with a single tap instead of a diddle), defer to the hand motion to play the first diddle correctly. | Don’t just analyze the interpretation of where the first diddle falls. -43-