X PREFACE Rolls are one of the main problems that face beginning drummers. Indeed, many professionals, as well as students, never overcome the problem completely. Developing a “clean” roll, with an even sound is a problem of technique, and this book aims to develop the skill for executing rolls through 4a series of exercises that are essentially technical in nature. | suggest that this study be used in conjunction with my previous book, ROLLS, ROLLS, ROLLS, in which an extensive amount of reading material can be found incorporating a wide variety of rolls at different tempos. In other words, rolls are contained within the framework of reading, rather than being presented as technical ‘exercises, as is the case with this study. ‘There are two basic methods for teaching rolls, Ona is the press roll approach, where the student is able to produce a sustained roll in a comparatively short period of time. Rolls produced in this manner, however, initially sound sloppy and uneven. As the student progresses, it is expected that he will develop a finer skill to execute these rolls with smoothness and finesse. Proponents of this apprnsch assert that for all practical purposes, since the press roll is the roll that is actually used, especially in orchestral playing, students should be trained early in their studies to think of a roll simply as a continuous and smooth sound for « given length of time. The second method for teaching rolls is based upon the rudimental or traditional approach, which requires a student in the early stages of learning to play a precise number of “open” doubles strokes ‘when he reads a written roll, As the student's technical prowess increases, he is able to play the open doubles at an increasingly greater speed. Eventually, the student will reach a maximum speed with ‘open doubles, at which point the closed or press roll comes almost naturally takes an average student anywhere from one to two years to play a smooth closed roll thre: .n the rudimental ‘approach. Although this method is initially tedious and time-consuming, its aavocates claim that 3 ‘an end result, the student gains much greater control and overall technique than in the press roll ‘approach. Moreover, this grester control with open doubles and its resulting machine gur-like sound ‘on the snare is extremely useful when it comes to playing jazz and rock solos around the drum set. {In general, this author tends to agree with the advocates of the latter method, and the approach that is notated on the foliowing pages is basically a traditional or rudimental one. All exercises are presented as “‘messured” rolls, with a predetermined number of double strokes for each beat. The ‘two approaches, however, are not mutually exclusive, Teaching the press roll should be initisted and incorporated at an early stage, in combination with the approach that I have chosen to illustrate. In fact, the exercises in this study not only can be played as written, with a predetermined number of double strokes per beat, but they can also be played with press rolls. It should be added that the same exerciss could even be playes with alternating sticking, thereby providing the reader with the opportunity 12 develop his singles BEAT) ety eySPECIAL EXERCISES (COMBINATIONS OF ROLLS BASED UPON 1/16th NOTES AND 1/léth NOTE TRIPLETS) (= SSS SS ‘ 5 ‘ ‘ we RT SS 4 eee ee eeee oll RRLLAA CUARLL A CEARLG A ALLR AGT SORRYPART THREE ROLLING IN “EIGHTH” TIME (2 & 8, 8, 8&8, “The rolls in this section are presented in three distinctly different tempos; slow, moderatefast, and | | fastvery test. However, since “eighth” time signatures (3/8, 6/8, et.) are most often plaved at moderate fast tempos, the exercises for rolling at these tempos specifically, will prove 10 be the most useful from a practical point of view.SLOW TEMPOS ay. ROLLS on TIED ee NOTES STROKE ROLL mas be Ed hE E og oes, ROLLS ON TIED QUARTER-NOTES (9 STROKE ROLLS) Aswritten — AsplayedROLLS ON TIED DOTTED QUARTER-NOTES (13 STROKE ROLLS) AS OMY ED, ae MODERATE TO FAST TEMPOS ROLLS ON TIED DOTTED QUARTER-NOTES (9 STROKE ROLLS BASED UPON DOUBLING QUADRUPLETS) i NOTE: “Eighth” time signatures are generally played at moderate to fast tempos; therefore, the following exercises should be considered the most useful from a practical point of view. Sica i iS | hE a ’ — PLT ShROLLS ON TIED QUARTER-NOTES (5 STROKE ROLLS BASED UPON DOUBLING DUPLETS) As played As writen o Aswainter soging from moderate to fas, § stroke roll ace played for both ted quarter nBtes and upbeat eighth-notes the ralon the sighth-note must be slightly clos (aster). This difficult ro deseribe in words, But the coneapt will bacoma apparent as the reader plays the following exercises hh} ty Py PR tgOPEN DRAGS 2 ee ee ARE ho ba beCoE . COMBINATIONS OF OPEN DRAGS 1 = —_— == = > = =— gf ey [ieee ee es ey re 4 — == = ==, - == SR ba aROLLS USING COMBINATIONS OF DRAGS (FAST TO VERY FAST TEMPOS)- cella COMBINING OPEN DRAGS RESULTS IN OPEN ROLLS OF VARYING DURATION THE OPEN ROLL EXERCISES ON THE PREVIOUS TWO PAGES, THEREFORE, ACTED AS A PREPARATION FOR THE MEASURED ROLLS ON THIS PAGE. noes eee -senee we MSE BOE SS eg fp gt ae my' “PART FOUR ROLLING WITH DYNAMICS Until now, al the exercises have bee without dynamic marks. This next part will present rolls In a distinctly more musical format, for the reader will be called upon to execute roils according 0 various degrees of loudness and softness. The dynamic marks used include, p, mf, and f. Once in 3 while pp or 1 is used, but there is no attempt to differentiate between the various gradations of loudness and softness. In order words, an exercise might be p-f, or p-mf, but there are no exercises calling for p-pp or ff, It was felt that these particular subtleties in dynamics are better approached through actual reading material than through roll exercises which are essentially technical in nature. ‘The reader should also note that the rolls are no longer presented with a specific sticking, nor are they “measured” with @ precise number of double strokes to a beat. Instead, the reader is now free to practice each exercise at various tempos using whatever roll and fingering he so desires,DYNAMICS WITH QUARTER-NOTE ROLLS (FRC ‘A THE DOWN BEAT) gg ae “Raper on bebe REE PEO P ¥ P P f ~ pi. d 1 | \ \ ! ke y y i if i V = { wz i PEE ped PELE ‘crese. poco 4 poco decresc. pow a poco P Big st : ged ded el pee Ek tet P f —=sr P ———r 4 EB I ee 4 4 P y P t DYNAMICS WITH EIGHTH-NOTE ROLLS 1 (FROM THE DOWN BEAT) , HELE 4 PED OE » »DYNAMICS WITH DOTTED QUARTER-NOTE ROLLS (FROM THE DOWN BEAT . : a 3 2 32 3 ' EOF ,-2 s' \ thet poy eae nf » f P f Pos At P Lm tf ~~ tf Le peas P erese. powo a pocoDYNAMICS WITH EIGHTH-NOTE ROLLS (FROM THE UP BEAT) qh ieee 4 ae an. F ee rh. Pp Pst P P f sua dih. Ely pepibi bly ped hee ard be a heeDYNAMICS WITH QUARTER-NOTE ROLLS (FROM THE UP BEAT) MED 4 ples ie 4 bod VE BY rEDYNAMICS WITH DOTTED QUARTER-NOTE (FROM THE UP. BEAT) 1 tpt P of J ee prt ————_—_—__—__ sf Peres. poea poco u 7 4 i tk The ; jd il |. ¢ 9 # ___#'—# pot at — P nf f P on Ss eae oes ee ee | P crese. poco a poco i= Say potted Sy eey DYNAMICS WITH HALF-NOTE ROLLS ' 4 I SS T T T 4 mt tf mf P 8 het t +f f= P tf P if 8 ne OM 1 Sd 5 Soy we ‘Big 8 s Weed Pe Wey P tf t P -—_—s 12 13 TFDYNAMICS WITH DOTTED HALF-NOTE ROLLS, WHOLE-NOTE ROLLS, AND DOTTED WHOLE-NOTE ROLLS Be z “3 beet tee ete teeth P f f P—?P PP HF decrese. poco a poco petit by pR Lk tf, HARD-COVER BOOKS THE COMPLEAT JAZZ DRUMMER Tha comosnion book to THE COMPLEAT ROCK ORUM MER gents exclusvely with jazz drumming. There are hun. Gran of omper of exercins compiled {tom moce than flteen Soivcover books on the topic of wit, Included also. are nu. 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Price $20.00) THE COMPLEAT DRUM READER Being « good reader « one of the most important requirements of any watleounded musician, Many drummers, however, Deang wank 9 tha ares, find they are Hmited in the type af more thay can handle If you want 12 imerove your reading Skil, here is a book thot containa a wide variety of materi fatected ftom many different rourcan, Syncoprtion Rit, + ming in odd time vrature, racing with rok, iced rete, and duets are only # few of the many topics covered. Get your ranging together, with 4 book that puts ial topes £0 bacorne # COMPLEAT ORUM READER, Prict $25.00DRUM BOOKS BY J.R. PUBLICATIONS Pr ante’s BEE ROU HE SIMI are tes fs TECHNION Se rns Font S427 BRL MOUN MPV VS IMP ANE SEE ES SIU EiFS FOR SHOW DRUMMING Ayise ELL ANEOUS STUDIES SPEC EAL COOK DEN TION © VTTERSS HARDCOVER HOURS SEL bibs FOR SROL SD THE ARE RECORDS Notas.