Tag: triplet

2-Mallet Keyboard Exercise: Double Diminished Double Stops

James Christian
Double Diminished Double Stops, page 1
Double Diminished Double Stops
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Double Diminished Double Stops, page 2
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This exercise for two-mallet keyboard percussion utilizes double stops with a diminished 7th chord (also known as double diminished). Starting with A, the pattern cycles through all 12 keys, going up by a half step each time.

The goal of this exercise is to build fluidity of movement with double stops around the keyboard. You start by playing three repetitions on each interval, then two, then one. These patterns cycle through 18/8, 12/8, and 6/8 time signatures, respectively.

With all double stops, be careful to strike both notes together. As you get faster, I would recommend striking the upper manual bars on the edge, instead of the center. Strive for accuracy and consistent sound. Stay relaxed, and let the stroke come from the wrists.

As you get more comfortable with this exercise, it can be a good endurance builder. Don’t slow down on the 6/8 measures! Keep a steady pulse throughout the exercise. A metronome will be invaluable for keeping tempo. For added endurance, repeat several times.

Have fun with this one!

2-Mallet Keyboard Exercise: Double Stops Builder

James Christian
Double Stops Builder
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The term double stops refers to striking two mallets at the same time.  They are an incredibly important skill to develop and master, and this exercise is a useful tool for practicing them.

In addition to having good double stop quality, it’s also important to transition smoothly between the upper and lower manuals.  In 16 measures, this exercise covers every possible configuration.

The breakdown is as follows:

  • Measures 1-4: accents with both hands on lower manual
  • Measures 5-8: accents with both hands on upper manual
  • Measures 9-12: accents with left hand on upper manual & right hand on lower manual
  • Measures 13-16:  accents with left hand on lower manual & right hand on upper manual

Within each of these four-measure sets, the non-accented notes (the “inner beats”) follow this configuration:

  • Measure 1:  both hands on lower manual
  • Measure 2:  left hand on upper manual, right hand on lower manual
  • Measure 3:  left hand on lower manual, right hand on upper manual
  • Measure 4:  both hands on upper manual

When playing this exercise, focus on distinct accents and clear (but softer) “inner beats.”  Make sure the double stops strike at exactly the same time.  Each interval should have a clear, blended sound.

Have fun with this exercise!

I also have to point out that this is the 50th post on Rudimental University!  Woo hoo!!!

Drum Set Exercise: Triplet Limb Independence #2

James Christian
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It’s coordination time again!  In our last drum set exercise, we focused on different limb combinations with triplets.  This week, we take the same concept further and increase the coordinative complexity a bit.  (Note:  This assumes a traditional kit setup, in which the ride cymbal and bass drum are played with the right hand and right foot respectively, and the snare drum and hi-hat are played with the left hand and left foot respectively.  Adjust this exercise to work the same concepts according to your setup.)

Measures 1-2: triplets in left hand and left foot (3 notes each), quarter notes in right hand and right foot (lead with hand)

Measures 3-4: triplets in right hand and right foot (3 notes each), quarter notes in left hand and left foot (lead with hand)

Measures 5-6: triplets in left hand and left foot (3 notes each), quarter notes in right foot and right hand (lead with foot)

Measures 7-8: triplets in right hand and right foot (3 notes each), quarter notes in left foot and left hand (lead with foot)

Measures 9-12: repeats the previous patterns of measures 1-4 with triplets alternating single strokes between limbs

Measures 13-16: repeats measures 9-12, except the order of hand and foot is reversed on the single stroke triplets

Measures 17-18: a “tag” ending to wrap it up

Measures 19-36: the entire exercise repeats with the opposite side leading (right hand becomes left hand and vice versa, right foot becomes left foot and vice versa)

Between this exercise and the previous exercise, just about every combination is covered.  If you can play both exercises smoothly and consistently, your coordination will increase significantly.

Drum Set Exercise: Triplet Limb Independence

James Christian
Click on the image to enlarge or click here to download in PDF format.

This triplet-based exercise is a great test of your independence between limbs.  Triplets are constantly trading off between two limbs while the other two limbs are keeping steady quarter notes.

Measures 1-2: triplets in hands (3 notes each), quarter notes in feet

Measures 3-4: triplets in feet (3 notes each), quarter notes in hands

Measure 5-6: triplets in right hand and left foot (3 notes each), quarter notes in right foot and left hand

Measures 7-8:  triplets in right foot and left hand (3 notes each), quarter notes in right hand and left foot

Measures 9-16: repeats the previous patterns with triplets alternating single strokes between limbs

Measures 17-18:  a “tag” ending to wrap it up

Measures 19-36: the entire exercise repeats with the left side leading instead of the right

A lot of combinations are covered here.  Have fun with this one.  Check back in two weeks for Triplet Limb Independence #2!

2-Mallet Keyboard Exercise: Interval Focus in Triplets

James Christian
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… or click here to download in PDF format.

This exercise is great for practicing short and wide interval leaps.  It is comprised of three parts:

  • Measures 1-24: The triplet pattern starts on a B-flat (check the key signature!), descends a half step, returns to B-flat, descends two half steps, returns to B-flat, descends three half steps, etc.  I would recommend starting this section on the right hand.

  • Measures 25-48:  This section follows the same pattern as the previous section, except the intervals move ascending instead of descending.  I would recommend starting this section on the left hand.

  • Measures 49-74: Finally, this section also starts on a B-flat, but the intervals both ascend and descend at the same time, ultimately spanning two octaves.  I would recommend starting this section on the right hand.

Due to the wide interval, the final two measures are the most difficult to play quickly.  I recommend seeing how fast you can play these two measures first.  That is your tempo for the entire exercise.  While this exercise is good practice for various intervals, another challenge is to maintain a steady tempo.  Most people will want to start too quickly and be unable to maintain that tempo throughout the entire exercise. Don’t let that be you!