Snare Exercise: Stutters

November 28, 2016November 26, 2016 James Christian

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

I’ve got a brand new snare exercise for you today. I came up with it several years ago just for fun. It has been in my “private collection” of exercises that I use sometimes for individual practice and one-on-one with students, but I’ve never shared it anywhere before now.

This exercise focuses on stutters—that is, isolated diddles. These have a cool “stuttered” sound (hence the name), but they are also really good for focusing on your diddle quality between each hand. The 16th note check patterns help to keep your timing in check. Be careful to keep each “stutter” in time. If you play this with other people, it will be a really helpful exercise for checking that your diddle interpretation is the same. The last measure is particularly tricky to play cleanly with others. Happy stuttering!

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!

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!

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!