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At the end of chapter one of Bobby Rock’s drumset book Metalmorphosis is a one measure lick Bobby named “The Monster”. A couple of pages are used to break down the lick limb-by-limb, isolating different combinations of what any two limbs are playing, developing the independence necessary to play “The Monster” as a whole. I would daresay not many players, if any, could sight read “The Monster” at first glance.

Any trap-set drummer who cites just one influence is too much of a copycat IMO; especially in the broad field of Rock Music. Like cooking, a pinch-here and dash-there hopefully makes your style somewhat unique. Although my list of admired drummers is long, I point to seven who shaped my approach over the years. Seven is a good number for me; it's also the age I began drumming (48 yrs ago).

To my knowledge, no one else performs solo percussion in venues as diverse as fine dining restaurants, wine bars, weddings, golf and country clubs, dance clubs, city wide municipal festivals and lakeside taverns.

[This paper could alternately have been titled "Types of Drum Set Independence". In fact, some examples in this paper include the hi-hat rather than a second bass drum to show that development of the feet through each independence type is not restricted to double bass. Double bass however offers a wider scope of practical examples for each of the types discussed, especially for the last type rudimental.]

[So many diverse groups and styles lay claim to the term “rudimental drumming”. Most people associate the term with parade or field drumming, marching groups. Even those groups have evolved since the introduction of drums on the battlefield in the 16th century, splintering from the early days of playing simple command beats into many branches of styles.

As I wrote in the previous article, there should be no difference in technique for your approach to snare drum or tenors. Especially on sweep passages, the ability to control the second note of a diddle will reap tremendous benefits.

(This Article was published in the most recent issue of Percussive Notes (Vol 39 No 4), and is reprinted on the Rudimental Webpage by permission of John Wooton.)

My junior high band director, Mr. Frank Adams, taught me matched grip in his beginner band. I was aware of traditional grip, watching set drummers on TV every so often, but didn't really give a hoot about one grip or the other. Eventually I started competing with other drummers, auditioning for spots in regional or state wide concert bands.

Rudimental drumming is very physical, arguably the most physical of all musical expressions, requiring practitioners of the art to train for the purposes of developing endurance, coordination, and speed to the highest degree. Competitive rudimental drumming is about displaying skills, therefore muscle development becomes very important for competition. Competitive rudimental drummers should consider themselves athletes; training becomes mandatory.

Upon listening to marching percussion clinicians and adjudication tapes of recent high school and corps competitions, I am compelled to raise many serious concerns...for the future integrity of our activities...and if there will continue to be any.

I am addressing this rudiment after witnessing some obvious misconceptions in performance at the recent PASIC '96 Snare Drum College Individuals Competition. This was the judges' selected rudiment to be played open-closed-open prior to the prepared solo.

The beauty of this rudiment (also called the Double Stroke Open Roll) is two-fold: motion (style) and execution (articulation).

Books

1.) Playing by Patterns - James E. Bell, copyright 1971. 37 pages

For those who are not familiar with the National Association of Rudimental Drummers, here is a brief history of this organization.  The Association was organized during the American Legion National Convention in 1933 by a group of prominent drummers, pictured on this page, who selected thirteen of the Standard American Drum Rudiments required for membership in this organization.

How do you develop speed?  What can I do to get better control?  I practice over an hour every day, and I still can't get anywhere.  Statements and questions like these are typical of the problems that confront the average drummer.  Although there are many approaches that can partially solve these problems, "positioning" is probably one of the most neglected.

Over the past few years, many percussion technicians have tried to teach students the exact way in which to hold sticks.  Today, it is more common to teach not the correct way, but rather the several acceptable ways of holding the sticks.  The choice is largely determined by the physical makeup of the hands.  Surely a person with short, stubby fingers will not hold the sticks in the same manner as a person with long, thin fingers.  Yet both can be considered to have correct hand positions.  The following statements should serve as a general guide to good hand position.