RS FBRMAR

BRTERES
Figure 1: "Relaxed" hand Figure 2: Matched-gnp hand poSition
thumb touches beween the first ana
second knuckle

NOTE: Stick should not extend across

the wrist, inhibiting the turn.

Figure 3: Matched-grp postion Figure 4: Matched-gnio nght hand

ready to insert drumstick. with stick held between the fingers

Large opening

Flexor pollici longus

 12

CURSC8MAR
BATRS1
Correct Position of
Fingers Around Left
Hand Stick
Correct Position of
Thumb and Index
Finger

Figure 10 racitcnsi grp. both nanos in tuikstroke positon (the ug position)

 Single Beat Combinations
ead denars)

LLL
R L R L R L R L RLR L RLR RRR RL L 1. 1. RRR R L

RRL L
RLRL L RLRL
LRLRLR L R
LRLR LRLR

LL RR
RRLL RR L L RRL L R R LL LRL RLLRR LRL R

LL R R LL R R LR L L

RLRR LR LL RLRB L R LL BL R L RLL R LRLR

RLLR LRRL RLL R L R RL

RLR L BRRL L RL R RR L

RL BL LRL R LRL R LLLR LRL R LLL

R RR L RR RL RLRL RLLL RLRL RLL L

LLLR LLLB LLL LL LR LRLRLR RRLRLR L RRR

LRL RRRR LRL R L L L L

RLLL BLLL RL LL RL LL

L RRR RRL L RLR R L L R R

LRR R LRR RL R RR LRL L
R right stick
S left stick Repeat each exereise 20 times
Motion Principles -
The Down-Up Technigue
materials contained in this text demanda high degree of
it is
i t y and control. In order to develop such skills, innecessary
various
t h e student to understand how the hands are used
ormance situations. This is the main purpose of the
Dn-Up Techniquue.
student can
Down-0p Technique ts a method by which the
a n how to play. It consists essentially of two components:
i c Heights and Stroke Type8.

sek Heights- The stioks can be used in any mumber of haight

Because of
sositions off the drum from low (16°) to high (90°).
effects of height on impact, these positions can be related
ynamic levels.

P P
height 90 75 800 45 30 15
dynamic-f m mp PP

Stroke Types- In any given dynamic situation, the sticks will

normally start and end in the same relative helght position.
This type of stroke wll be referred to in terms of its size
(1e. a 46° stroke, a 60° stroke, eto.).

motion
height/
dynamic 90°-ff 75°.f 60-m 45-mp 30°-p 16°-pp
It shouid be understood that the downward and upward motions
are not separated, but are rather parts af a continuous process.
The entire stroke should be axecuted as quiakly as posalble.

There are two reasons why this type af motion procedure is

necessary. First of all, on most percussion instruments, once the
Surface has been struck, it should be allowed to vibrate freely.
Secondly, by completing the motion as s00n as possilble, the student
 TWO-BEAT ROLL versus THE BUZZ
THE TW0-BEAT R0LL is the puro roll THE BUZz ROLL is the roll
of two beats of either stick; the first of more than two beats of
beat struek, the second beat rebounded ithor stick.

(bounced).
A BUZZ OF EITHER STICK
A BRAT AND REBOUND OF EITHER STICK

RL RL

WHERBAS A SLIGHT DOWNWARD PRESSURE OF HANDS

AND FINGBRS as stiek
TW0-BBAT ROLL, a farther
strikes its initial beat produces the single rebound of the
thus produeing the BUZZ.
dowaward pressure will give two, three or more rebounds,

PERCU'SSION in International Musiciar.)

(Reprinted by permission from the author's TECHNIQU'E OF

icular purpose and type of drum. While it is agreed

TWO-BEAT ROLL VERSUS THE BUZZ rudimen:a!
that the pure two-beat roll comes first in
The buzz roll has ever bccn a controversial subject inportance and still is thhe preferred roll of the stylist.
becausc its character, small wire-snared
nmodern drumming. especialiy on
uses a
anong drummers, mainly often ca..s
and limitations have not fully been
understood. drun played with lightweight sticks, more
roll. said to resemble "tte
for a finer, sncother aptly
Prejudice against it apparently started in carly war tin roof" or "the tearing oi
patter of raindrops
on a
in
times with the inception of military druuming, a picce of silk cloth."
drun1ner's duties were confined to outdoor
which the
for marching soldiers. W'irc burz by thernseles at the slightest sound
snares
drumming the single tap of a stick. Indeed thev
drum disturbancc or
The rolls then cmployed, on a giant parade in
often buzz by renote control, i.e., at certain tones
were perforce powerful Hence it is
with hcavy drumsticks, on s o n e nearby wind instrument.
here buzzing was definitely out of placc. played roll on t e
nature, and difficult. even while attcmpting a two-beat
era was warncd against
Hence, our drumuner of this
transnittcd tlhis warning to sensitive wirc-snarced drum, to achieve anything but
and he in turn than the sticks.
buzzing.
those who followed.
a buzz, for the snares move faster
AVOID THE BUZZ" IS FOR
THEN AND NOW
THE BEGINNER
Through the intervening years new developnenis in
into cxistenccc their students to a:v:
music and in druim1ning have come Yes. many fine wachers tell
one by onc. New and differeni instrunenis lave
hr hu::. The writer b»lieves tlus adnmonitinn to
section. These intended
been intreducrd into onur .rcussion gmal o , but such a warning is primarily so tha
innovations, ncw tech- for pra!taut paurticul.arly, fur
thr brginner,
in then1sclves have called for the nwre difhcult but
been the burzing
niques: and one of the latter has he a y he trai*d to n a s t e r
of the roll. r wceptecd two-tx*at roll first.
gerally
dev clop tle talen:«
For many years tle author in
his tcaclhing, nagzw .atr, as training and experience for n u r e
endeavored to enphasiz* t h * lwgin*i any serker
invrd of
articles and in clinics, has conrol of his rolk deie:.
caled prr»s find
dc impxrtance of the bun (senntimes molirirney', he will tiie
u** in our drumning ot i s ultiunatr objective being
or crush) roll an«d justily its
ol
oping alngsick: thwm in thrir any gracdations v
is a natural extensicnn albility t applv
today. Why? B*ausr it se it rejresents of the s»lt and fine bu::
roll. c a 1 . frnn the pianivama
our traditional tw«-lrat of the t w .
trade, not inerely doum to the fortivsämo roar
additional tox»l ol tlhe driumuning on the «nalkr
an drun.
tlur two- on tlhe gut-snard military
yrt by device to replace Iat. played
a good enough
or

beat. WITIIIN THE SOUND-SCOPE

OF
TT IS UERE,
ROLLS VERSUS SANDPAPER IDRUMMER'S LONG TOOXEE
TUE RO.l. THE
ali round drunnmer finds use for as any THAT HE BUZ. OCCUPIES ITS iIGHLY
Today the as there
.

and fineness in his rolls PLACE.

degrees of coarseness
dedicatrd to its par-
IAIPORTANT

are in sandpaper,
each degrec
 25
TWO-BEAT ROLL versus THE BUZZ
In the following exoreises the execution of one roll is contrasted with that of the other.The object
velop sensitivity of hands and fingors and through this,a wider range ofcontroland expression
in rolling-
Slow practice is indicated first at unvarying tempo, with completely relaxed museular action.
Timing is the most important element hore, WITH HANDS MOVING AT THE SAME RATE OF
SPEBD IN ONE ROLL As IN THR OTHBR. (Aroid the natural tendency to rush the buzzes.)

Note well, that in slow tempos the buzzos will suffer, sounding erude and dragEy,with spaces in
between. Howover, when in later practice, speed is increased to normal playing tempos, the buzzes in
the same exeroises will"smooth up" to sound as normal rolls should.

RLRL R RLRLR RLRLR RLRL R

°°°

LRLRL LR R L LRLRL LRLRL

RLRLRLRL R RL RL RL RL R RLRL RLRL B RLRL RLRL R

LRLRL RLR L LRLRL RLR L LRLRLRLR L LRLR LRLR L

RLRLRLRL RLRLR RLRLR LRL RLRLR RLRLRLRL RLRLR RLRL RL RL RLRL R

I. RLR I. RLR . RL RL L R I R 1. R L RLRL RL LRLRLRLR LRLRL LRLR LRLR LRLR L

RIRLRLRL R1. R L, R I. R L RLRLRLRL

E RL RL RLRL

LR1.RLRL.R LRLR LRL R LRLRLRLR LRLRLRLR

Repeat each exercise 20 or mnore times.

9 Adagio Andante Mcderato Allegro (Dynamik:.. s mp. P, »)

0 Andante Allegretto Allegro (Dynamik: S m mps P» Pp)

Lento Allegretto Allegro (Dynamik s *p, p)

 12 Moderato All+gro

J sempre

13 Andantino Allegretto

mf

14 Moderato Allegro

fsempre

EE
 15 Moderato Allegro assai

16 Andante Moderato Allegro (Dynamik: P

17 Adagio Tempo di Valse

*

Vale (Era)- Waber; Temim Dreiertalk Valnj - Tabe; d a tre t i

PERCUSSIVE ARTS SOCIETY INTERNATIONAL DRUM RUDIMENTS
All rudiments should be practiced: open (slow) to close (tast) to open (slow) and/or at an even moderate march tempo.

I.ROLLRUDIMENTS 10. Nine Stroke

Roll
A. Single Stroke Roll Rudiments
1. Single Stroke
Roll

RLRLRLR L 11. Ten Stroke 10

Roll
2. Single Stroke
Four
RL R RL
LA L LR
R 12. Eleven Stroke 11
3. Single Stroke
Seven
Roll

_RL RL
L LR LR
RLRLRLR
LRLRLRL 13
13. Thirteen 3
B. Multiple Bounce Roll Rudiments Stroke Roll
4. Multiple
Bounce Roll

14. Fifteen Stroke 15

5. Triple Stroke
Roll
33 3 Roll

RRRLLLRRRLLL

C. Double Stroke Open Roll Rudiments

15. Seventeen 17 17
6. Double Stroke Stroke RolI
Open Roll
RRLLRRLL
R L
7.Five Stroke
Roll II. DIDDLE RUDIMENTSS
16. Single
Paradiddle

8. Six Stroke Roll RLRRLRLL

17. Double
Paradiddle

RLRLRRLRLRLL
9. Seven Stroke 18. Triple
Roll Paradiddle

LR RLRLRLRRLRLRLRLL
L 19. Single
These rudiments are aliso included inthe original Standard Paradiddle-diddle

26 American Drum Rudiments.

PERCUSSIVE Copyright 1984 by the Percussive Arts Soclety RLRRLLRLR RLL

urSOCIETY
110 W. Washington Street, Sulte A, Indlanapolis, IN 46204
International Copyright Secured All Rights Reserved
LRLLRRLRLLRR
Il. FLAM RUDIMENTS IV. DRAG RUDIMENTS
20. Flam 31. Drag

21. Flam Accent

a
LLR RRL

32. Single Drag

Tap

LR RRL R L LLR LRRL R

22. Flam Tap 33. Double Drag

Tap
LR RRL LLR RRL L
LLR LLR L RRL RRL
23.Flamacue
34. Lesson 25

LRLR LLR
RRL
LLR L RLLR L R
24. Flam RRL R LRRL RL
Paradiddle*
35. Single
LR LR RRL R LL Dragadiddle
25. Single RRL R R LLRLL
Flammed Mill

36. Drag
LRR L RRL LRL Paradiddle # 1*
26. Flam RLLR L R R L RRL R L L
Paradiddle ddddJJJJJ
diddle
37. Drag Paradiddle #2*
LRLRRL LRLRL LRR

27. Pataflafa

RLLR LLR L R RLRRL RRLRL L

LRLR RL LR LRRL

28. Swiss Army 38. Single

Triplet Ratamacue*

LRRLLR R L LLRLRLRRL RLR

RLL RRLL R
39. Double Ratamacue
29. Inverted Flam
Tap

LR LRL RLA LRL R

LLR LLR LRL RRL RRLRLR
30. Flam Drag
40. Triple Ratamacue*

LR L L RRL RRL

PERCUSSIVE LLRLLRLLR L RLRRL RRLRRLRLR

ARTS)SOCIETY For more information on becoming a Percussive Arts Society subscriber contact PAS at
110 W. Washington Street, Site A, Indlanapolls, IN 46204. E-mail:;percarts@pas.org.Web site: www.pas.org