Author: James Christian

James Christian has been a percussionist for over 20 years. He has performed with many types of groups, including drum corps, concert bands, orchestras, jazz combos, military bands, and percussion ensembles. He has marched with two senior drum & bugle corps—Bayou City Blues and Gulf Coast Sound (both from Houston, Texas)—and spent four years as a percussionist in the United States Marine Corps Band at Camp Lejeune, North Carolina. James Christian has won 16 local, state, and national percussion competitions. He was the 1998 Texas Percussive Arts Society (PAS) high school multi-tenor drum champion, and he is the seven-time winner of the Drum Corps Associates (DCA) multi-tenor drum competition (2001-2007). He has taught several schools, including Centennial High School in Burleson, Texas and Paris High School in Paris, Texas. He is the author of "The Art of Multi-Tenor Drumming," and he has composed and arranged music for several different ensembles. In 2016, he created RudimentalUniversity.com as an online resource for percussionists and percussion instructors, and he now edits The Percussion Circle magazine.

Multi-Tenors Exercise: Shifting Paradiddles

November 25, 2016November 25, 2016 James Christian

To view the exercise, click on the image to enlarge or click here to download in PDF format.

This entire week, we have been looking at different approaches to the “Shifting Paradiddles” exercise for various percussion instruments. We have previously looked at applications for snare drum, keyboard percussion, bass drum splits, and timpani. Our final instrument is the multi-tenors for marching percussion.

Before attempting this on tenors, it would be a good idea to review the snare drum exercise. This variation utilizes three drums. On the surface, it is pretty straight forward. The main thing that distinguishes this exercise from the snare drum version is that the accents are played as crossovers. The first two patterns—paradiddles and inverted paradiddles—are fairly simple to play as crossovers. However, the last two patterns—mills and alternating quads—are considerably more difficult.

As with all such patterns, make sure you bring out the accents, and keep the non-accents softer and closer to the drum. Contrast between accents and non-accents is of utmost importance in this exercise. Simply changing drums is not the same thing as an accent! It’s easy for tenor players to get lazy on accents and simply allow the momentum of moving from drum to drum to create a quasi-accent. When you play the accents with crossovers, make sure you are still bringing out the accents.

On the final four measures, play each pattern slowly at first until you feel comfortable with the quick movements involved in each crossover. On every double, be careful not to drop the second note. Strive for absolute smoothness in your 16th notes. Once you get everything down smoothly, every two measures should theoretically sound identical to the first two measures.

I hope you have enjoyed the exercises this week. Let us know what you think in the comments section. Do you like having an exercise that all sections can play together? Or would you prefer to see more specialized exercises for each instrument? Were these exercises a good challenge? Too easy? Too hard? Did you play through any of them with your percussion friends? Do you have any helpful tips to share?

Thank you for your feedback. We want to hear from you!

Timpani Exercise: Shifting Paradiddles

November 24, 2016November 22, 2016 James Christian

Click on the images to enlarge the exercise or click here to download in PDF format.

Throughout this week we have been looking at the “Shifting Paradiddles” exercise adapted for different percussion instruments. So far, we have looked at applications for snare drum, keyboard percussion, and bass drums.

Today’s variation for timpani may be the most challenging variation of them all due to its pedaling difficulties. The exercise utilizes three drums. It can be played along with the keyboard variation as it cycles through all 12 keys. As the key changes every two measures, the three drums are tuned to the root major triad.

The exercise falls into three sections, each ending with a quarter note…

Measures 1-8: The singles check pattern is on the highest drum, while the paradiddle variations are on the lowest two drums.

Measures 9-16: The singles check pattern is on the lowest drum, while the paradiddle variations are on the highest two drums.

Measures 17-24: The singles check pattern is on the middle drum, while the paradiddle variations are on the highest and lowest drums.

During the check pattern, you will have to pedal the other two drums—and during the paradiddle variations, you will have to pedal the other drum. Throughout each 8-measure section, each drum will progressively be tuned a half step higher. On the final measure, the quarter note should glissando smoothly into the next 8-measure section. For the final note of the exercise, you may want to utilize a downward gliss on repeats and use no gliss the final time through.

Of course, this exercise will be much easier if you have gauges on your timpani. If you do not, you can still achieve it with careful practice. Take it slowly and use a keyboard or pitch pipe to check yourself on every pitch change. Once you get all of the transitions down smoothly, this will be a pretty impressive exercise.

Bass Drum Splitting Exercise: Shifting Paradiddles

November 23, 2016November 22, 2016 James Christian

To view the exercise, click on the image to enlarge or click here to download in PDF format.

So far this week, we have had exercises for snare drum and keyboard percussion. They have all been variations on the “Shifting (P.I.M.A.) Paradiddles” exercise. Today we come to the bass drum variation. (It can be played by as few as two people or expanded to work for any size line.) The acronym in the title—P.I.M.A.—stands for:

Paradiddle — Inverted paradiddle — Mill — Alternating quad

Of course, a standard paradiddle has the sticking RLRR LRLL. An inverted paradiddle is like starting on the second note of a paradiddle: LRRL RLLR. A mill (think “single flammed mill” without the flams) is like starting on the third note: RRLR LLRL. Finally, an alternating quad is like starting on the fourth note: RLRL LRLR. (Of course, this final set is like a quadruple grouping of singles, simply alternating the starting note. Hence its name.)

In this variation, two players go back and forth between a basic 16th note check pattern and then split these different P.I.M.A. patterns. The first time through is all on the right hand. On the repeat, it should be played off the left hand. The best way to practice is with a metronome. Take it slowly, carefully subdivide the 16th notes, and focus on playing the rhythms smoothly with an absolutely steady pulse.

Tomorrow we will feature a variation on this exercise for timpani!

2-Mallet Keyboard Exercise: Shifting Paradiddles

November 22, 2016November 27, 2016 James Christian

Click on the images to enlarge or click here to download in PDF format.

Every week we endeavor to bring you fun and interesting exercises on different percussion instruments. Some weeks we will have instrument-specific exercises that are intended more for individual practice.

This week, however, all of the exercises will be playable by all instruments at the same time. These can serve as fun exercises to play with your drum line or a percussion friend on two (or three or four) different instruments. Yesterday’s snare drum exercise focused on the single paradiddle and the three variations of shifting accents—which I call the inverted paradiddle, single mill, and alternating quad.

This exercise for two-mallet keyboard percussion uses the same sticking with ascending and descending scale patterns. As an added challenge, it quickly cycles through all twelve major keys. (Be careful on the final measure!) Enjoy!

Check back tomorrow! The remaining instruments to be featured this week will be: marching tenors, two-person bass drum splits, and timpani.

Snare Exercise: Shifting Paradiddles

November 21, 2016November 22, 2016 James Christian

Click on the image to enlarge or click here to download in PDF Format.

Throughout the week, we will feature exercises for different percussion instruments. Here is our first exercise for snare drum. It utilizes paradiddles and three paradiddle variations—inverted paradiddles, single mills, and alternating quads. These last three rudiments have been around for a while, but they have never quite gained the same popularity as their grandfather, the single paradiddle. Nonetheless, they are all quite versatile, and they make for a fun exercise.

As you play this exercise, pay careful attention to distinguish between your accent and tap volumes. As the tempo increases, the more difficult it is to bring out the accents, especially on the alternating quad.

A fun variation on this exercise is to play it with zero accents. Make it sound as smooth as possible. As you get it faster and faster, it should sound like a smooth roll.

Check back here regularly. We will look at different applications of this exercise on various percussion instruments throughout the week!

Announcing the Ultimate Tenor Book:
“The Art of Multi-Tenor Drumming” by James Christian

November 20, 2016August 10, 2020 James Christian1 Comment

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I am happy to announce that my new book The Art of Multi-Tenor Drumming is now available to order. It has taken me the better part of a decade to write it, and I believe drummers everywhere will find it worth the wait. For decades, drum set, keyboard percussion, snare drum, and timpani have had several detailed texts written for them. Now tenor drums finally get their turn. This is the book that the tenor world has been waiting for.

At 366 pages, this is the most thorough book ever written on the art of tenor drumming. It covers the absolute basics and lays a solid foundation for beginners, while giving intermediate and advanced players plenty of material to challenge them as well. This book has been a true labor of love, and I hope people will enjoy playing from it as much as I enjoyed writing it. I offer this book as an opportunity to raise the bar and set a new standard for the next generation.

Click on the link below to see the product page and learn more.

https://www.rudimentaluniversity.com/product/art-of-tenor-drumming/

Art of Multi-Tenor Drumming, The

Welcome to Rudimental University!

October 20, 2016November 28, 2016 James Christian

Greetings! My name is James Christian, and I am the founder of Rudimental University. I am a percussionist, teacher, and author, and my specialty is rudimental drumming. I am best known for being the seven-time DCA multi-tenor drum champion (2001-2007). However, I do not consider myself as merely a “tenor drummer.” I am a drummer and a percussionist, and I love every aspect of percussion. I hope this site will provide valuable resources and inspiration for both percussionists and percussion instructors.

The site’s name, Rudimental University, has its origins in rudimental drumming, but I intentionally did not name it Rudimental Drumming University. All percussion instruments have essential rudiments that must be learned, and they can all be taken to extremely advanced levels. This site is a celebration of the rudiments of all percussion. I chose to call it a “university,” because I want this to be a place of learning, sharing knowledge, and being exposed to new ideas. I plan to bring along other percussionists who will offer different perspectives—including those who may disagree with me on certain issues.

I have big plans for Rudimental University, which I will reveal over the weeks, months, and years to come. Go ahead and bookmark the site, and check back over time as new features are added. I hope you will join me on a new percussion adventure!