Playing With Patterns: A Comprehensive Guide to Master the Drum Rudiments (for any level)
Copyright © 2016 Lutz Academy Reproduction, reprinting, distribution, copying, or transfer by any means is strictly prohibited under copyright law and will be prosecuted. For more drum lessons, visit LutzAcademy.com
Table of Contents What Are Rudiments? Reading Drum Notation What is an accent? What is a ghost note? Triplets The Rhythm of Triplets Counting Triplets Note Durations Rolls Single Stroke Rolls Single Stroke Roll Single Stroke Four Single Stroke Seven Multiple Bounce Rolls Buzz Roll Triple Stroke Roll Double Stroke Rolls Double Stroke Roll Five Stroke Roll Six Stroke Roll Seven Stroke Roll Nine Stroke Roll Ten Stroke Roll Eleven Stroke Roll Thirteen Stroke Roll Fifteen Stroke Roll Seventeen Stroke Roll Diddles Single Paradiddle Double Paradiddle
Triple Paradiddle Paradiddle-Diddle Flams Flam Flam Accent Flam Tap Flamacue Flam Paradiddle Single Flammed Mill Flam Paradiddle-Diddle Pataflafla Swiss Army Triplet Inverted Flam Tap Flam Drag Drags Drag Single Drag Double Drag Two and Three Single Dragadiddle Drag Paradiddle No.1 Drag Paradiddle No. 2 Single Ratamacue Double Ratamacue Triple Ratamacue
What Are Rudiments? Just like pianists have scales, drummers have rudiments. Rudiments are sticking patterns that can be as simple as single strokes (R-L-R-L) or as complex as a Triple Ratamacue: There are forty drum rudiments (hand patterns) in all, and while it may sound like a daunting task to memorize them all, with this system and daily practice, you can have them down in just a couple months. Drum rudiments are something you’ll pull from again and again as you play and progress, so it’s important to learn them correctly. When first learning, you’ll start by focusing on the sticking (which hand plays when), then once you have the pattern down pat, you’ll be adding accents and speeding it up. The rudiments are a great way to ace your sticking technique and begin playing at super fast tempos, but always start slow until you have mastered each pattern slowly. The first few rudiments may come to you rather quickly, but you’ll find each one gets tougher as you go along. Most of the rudiments build upon each other, so make sure to go in order. Additionally, if you don’t know how to read drum notation, we’ve got a guide on the next page to get you started! Practice these things daily and soon you’ll find your speed, technique, and sight reading ability all improving, making you a better drummer all-around!
Reading Drum Notation If you don’t yet know how to read drum notation, here’s a quick guide to get you started. Since rudiments are simply hand patterns, they can be played all around your kit (which is what makes them so versatile and perfect for drum solos). Because of this, we’ll be using pitch-less notation.
The only thing you need to pay attention to is the note duration and sticking. R = right hand, L = left hand. All of these rudiments will be shown in 4/4 time, you can play them at whatever speed you wish. Once you have the sticking down, you should practice adding accents to different notes, speeding up/slowing down the patterns, and moving them all around the kit.
What is an accent? To accent a note, you basically play it harder/louder than the rest. These symbols tell you how much you should accent a particular note. Medium is the most common. How hard you hit an accented note is relative to the volume you’re already playing at. Don’t worry about adding accents until you have the basic sticking patterns down completely.
What is a ghost note? Put simply, a ghost note is simply a note that is quieter than the rest. You can play a ghost note anywhere on your kit, including the bass drum. To do so, you bring your stick closer to the drum or cymbal before you hit it, therefore making it quieter. Ghost notes are also called “anti-accents” and can be notated by: 1. ˘ = slightly softer than surrounding notes (breve symbol) 2. ( ) = significantly softer than surrounding notes (note head in parentheses) 3. [ ] = much softer than surrounding notes (note head in brackets) Ghost notes are much easier said than done, and like anything, will take practice for you to play them correctly. When used properly, accents and ghost notes add more dynamic and life to your playing.
Triplets Triplets can be tricky to get down. A triplet is three notes that takes up the space of two. So, a set of eighth note triplets fits within the space of two normal eighth notes (or one quarter note).
The first “measure” (also called a “bar”) displays four quarter notes, counted “1 2 3 4”. The second measure shows four sets of eighth note triplets. Triplets are most often counted with “1 trip let, 2 trip let, 3 trip let, 4 trip let” (starting over at “1 trip let” for the next measure). Notice that since the triplets are eighth note triplets, there is one beam connecting the notes (because single eighth notes have one flag). The “3” above each set of eighth notes tells you that they should be played as triplets.
The Rhythm of Triplets It’s really important that you understand what a triplet is. Just because three notes are played in a row does not make it a triplet. Listen to some triplet examples to get the idea of how they sound and feel. A triplet isn’t just a grouping of notes, it’s a set of notes that are played in a very specific rhythm.
Counting Triplets As a drummer, it’s always helpful to just sit down and practice counting. Counting practice is something you can do anywhere, even when you’re listening to your favorite music. To practice counting triplets, turn on a metronome to a comfortable tempo (try 60 BPM to start). The “beats per minute” is usually measured in quarter notes, so 60 BPM = 60 quarter notes per minute (or, one per second). A set of eighth note triplets last the length of one quarter note/two eighth notes. Here’s a written example, the click should be on the bold count:
1 trip let 2 trip let 3 trip let 4 trip let As you get comfortable with this, practice it on your kit and then practice at a higher tempo. There are also sixteenth note triplets and quarter note triplets that you should practice.
Note Durations Whole note
4 beats
Here’s how you count a whole note (only play on the underlined beat): 1 2 3 4
Half note
2 beats
Here’s how you count half notes (only play on the underlined beats): 1 2 3 4
Quarter note
1 beat
Here’s how you count quarter notes (only play on the underlined beats): 1 2 3 4
Eighth note
½ beat
Here’s how you count eighth notes (only play on the underlined beats): 1 & 2 & 3 & 4 &
Sixteenth note
¼ beat
Here’s how you count sixteenth notes (only play on the underlined beats): 1 e & a 2 e & a 3 e & a 4 e & a
Rolls We all know what a drum roll is. The goal is to produce a sustained sound, and it takes a good bit of practice to get the speed and technique down. There are three types of roll rudiments: single stroke rolls, multiple bound rolls, and double stroke rolls.
Single Stroke Rolls Single Stroke Roll The single stroke roll is the first rudiment every drummer will learn, and you already know it. You’ve been playing the single stroke hand pattern since you were a baby! The single stroke roll simply alternates hands: R-L-R-L etc.
Notice that the three bars connecting these notes means they are 32nd notes (because a single 32nd note has three flags). If there were two bars, they would be sixteenth notes (because 16th notes have two flags), and if it were just one bar, they would be eighth notes (because eighth notes have just one flag). Notes without flags (like whole, half, and quarter notes) are never beamed together. The notes are evenly spaced, and while this rudiment is typically played very quickly, slow pieces that use this alternate sticking pattern are still considered single stroke rolls.
Single Stroke Four A single stroke four consists of four single strokes.
Usually, single stroke fours are played as a sixteenth note triplet followed by one eighth note.
Single Stroke Seven A single stroke seven consists of seven single strokes:
They are usually played as a sextuplet followed with a quarter note.
Multiple Bounce Rolls Buzz Roll
Also called a “press roll” or “multiple bounce roll”, a buzz roll is played by alternating hands. There’s no specific number of bounces per hand, but the goal is to make it sound continuous and even. To play a buzz roll, hit any drum (the snare is a good place to start) and press the stick into the head slightly. Use the rebound. In order to get the most rebound, you need to hold your sticks properly and loosely! As you practice, you’ll be able to feel how much pressure needs to be applied.
Triple Stroke Roll A triple stroke roll, or “French roll”, is played by alternating hands with three strokes per stick.
You can play this roll by bouncing the strokes or playing them with your wrist.
Double Stroke Rolls Once you’ve mastered the single stroke and multiple bounce rolls, you should move on to the ten different variations of double stroke rolls.
Double Stroke Roll Also called a “long roll”, the double stroke roll consists of just that: two strokes per hand. R-R-L-L-R-R-L-L etc. With all of these rudiments, you should also begin practicing leading with your left hand (L-L-R-R-L-L-R-R etc.).
Five Stroke Roll The five stroke roll is played with two double strokes followed by an accented note. Sticking: R-R-L-L-R
Six Stroke Roll A six stroke roll starts with an accented note, followed by two double strokes, and ending with another accented note. Sticking: R-L-L-R-R-L
Seven Stroke Roll A seven stroke roll consists of three double strokes and ends with an accented note. Usually, it’s played as a sextuplet followed by a quarter note. Sticking: R-R-L-L-R-R-L
Nine Stroke Roll Four double strokes followed by an accented note. Sticking: R-R-L-L-R-R-L-L-R
Ten Stroke Roll Four double strokes followed by two accented notes. Sticking: R-R-L-L-R-R-L-L-R-L
Eleven Stroke Roll Five double strokes followed by an accented note. Sticking: R-R-L-L-R-R-L-L-R-R-L
Thirteen Stroke Roll Six double strokes followed by an accented note. Sticking: R-R-L-L-R-R-L-L-R-R-L-L-R
Fifteen Stroke Roll Seven double strokes followed by an accented note. Sticking: R-R-L-L-R-R-L-L-R-R-L-L-R-R-L
Seventeen Stroke Roll Eight double strokes followed by an accented note. Sticking: R-R-L-L-R-R-L-L-R-R-L-L-R-R-L-L-R
Diddles Diddle (or “double stroke”) rudiments employ both double and single strokes, so make sure you master them first. Paradiddles have countless applications. You can find many drum solos online that use only a paradiddle hand pattern moved around the kit. With practice, you can get your paradiddles (and other rudiments) up to some incredibly quick speeds (think 240 BPM and beyond). Paradiddles are a great way to start building speed and practice moving patterns across your set.
Single Paradiddle The sticking pattern for a single paradiddle is: R-L-R-R-L-R-L-L. You should also start this pattern with the left hand. To memorize it, instead of saying “R-L-R-R-L-R-L-L” you can say “Pair-a-did-dle” to remind you that it’s a pair of alternate single strokes, then a set of doubles. To build paradiddle speed, a lot of people practice their triple stroke roll. Even though there aren’t three consecutive notes on the same hand within a single paradiddle, when you start to speed things up, the strokes start to come almost one after the other. If you’re having trouble playing paradiddles quickly, it might help you to work on your triple stroke roll and make sure you’re using rebound and not just relying on your wrists (that’s an easy way to tire yourself out!). Focus on your left hand triple stroke roll. Once you have it down, add in the right hand after the first note, giving you L-R-L-L. Then, do your right hand, giving you R-L-R-R. Put it together, and you have your paradiddle: R-L-R-R-L-R-L-L. After you’ve got the basic pattern down, you can add accents throughout the paradiddle.
Double Paradiddle A double paradiddle consists of four alternating notes followed by a double, like so: R-L-R-L-R-R-L-R-L-R-L-L
Triple Paradiddle A triple paradiddle has six alternating notes followed by a double, like so: R-L-R-L-R-L-R-R-L-R-L-R-L-R-L-L
Paradiddle-Diddle A paradiddle-diddle is played with two alternating strokes followed by two alternating double strokes: R-L-R-R-L-L-R-L-R-R-L-L
Flams Flam To play a basic flam, you’ll use both sticks, with one hitting the drum slightly before the other. The goal of a flam is to make it sound like one note that’s slightly longer than a normal single stroke. The first tap is a grace note, followed by a hit with your other hand at full volume. Think of the syllable “lam”, if you add F you get “flam”, which is still only one syllable but it’s a little longer. This is how you should think of flams.
Flam Accent A flam accent follows the form flam-tap-tap, alternating hands. So, you get R-L (the flam) then R-L (tap tap). Starting with the left hand, you’ll have L-R (the flam) then L-R (tap tap).
Flam Tap A flam tap consists of alternating diddles (double strokes) with a flam on the first note of each diddle. The sticking would be as follows; the first note of each flam is in italics. L-R-R-R-L-L-L-R-R-R-L-L
Flamacue A flamacue consists of four notes and an ending downbeat. The first note and the ending downbeat are flammed (italics) and the second note is accented (in bold). Four Notes: L-R-L-R-L Ending Downbeat: L-R Together: L-R-L-R-L-L-R
Flam Paradiddle Also called a “flamadiddle” this is simply a paradiddle with a flam on the first note.
Single Flammed Mill This is an inverted paradiddle (doubles before the single strokes) with a flam placed on the first note of each double, like so: L-R-R-L-R-R-L-R-L-L
Flam Paradiddle-Diddle Alternating paradiddle-diddles with a flam on the first note of each. L-R-L-R-R-L-L-R-L-R-L-L-R-R
Pataflafla This is a four note pattern with flams on the first and last note of each set. First four notes: L-R-L-R-R-L Second four notes: L-R-L-R-R-L And so on…
Swiss Army Triplet A right-hand flam followed by a right hand tap then a left hand tap (or the other way around). This is often used instead of a flam accent. Right-hand: R-L-R-L Left-hand: L-R-L-R. This is played as a triplet, with the flam being “1” the first tap being “trip” and the second tap being “let”.
Inverted Flam Tap Also called a “tap flam” this consists of alternating diddles (offset by a single sixteenth note) with a flam on the second note of each double, like so:
Flam Drag Consisting of flam-drag-tap, this is played by alternating groups following this form. Flam: L-R Drag: L-L Tap: R Together shown as: L-R-L-L-R. Other hand: Flam: R-L Drag: R-R Tap: L Together: R-L-R-R-L
Drags Drag Also called a “ruff” or “half drag”, this starts with a pair of grace notes then a tap with the other hand (the tap is usually accented). Like so:
Grace notes in italics: L-L-R Other hand: R-R-L
Single Drag A single drag, or single drag tap, is a basic drag (see above) with an accented tap following it. Like so: L-L-R-L, or R-R-L-R
Double Drag A double drag/double drag tap is just like a single drag, except you add another grace note drag before the tap, like so: L-L-R-L-L-R-L, or R-R-L-R-R-L-R
Two and Three Widely referred to as “lesson 25”, this consists of three alternating notes. The first note has drag grace notes and the third is accented. L-L-R-L-R or R-R-L-R-L
Single Dragadiddle A single dragadiddle is a basic paradiddle but the first note is a drag: R-R-L-R-R L-L-R-L-L
Drag Paradiddle No.1 An accented note followed by a paradiddle with drag grace notes on the first note: R-L-L-R-L-R-R L-R-R-L-R-L-L
Drag Paradiddle No. 2 Two accented notes followed by a paradiddle with drag grace notes on the first accented note and on the first note of the paradiddle. Accented notes: R-L-L-R Paradiddle: L-L-R-L-R-R Together: R-L-L-R-L-L-R-L-R-R Accented notes: L-R-R-L Paradiddle: R-R-L-R-L-L Together: L-R-R-L-R-R-L-R-L-L Both hands: R-L-L-R-L-L-R-L-R-R-L-R-R-L-R-R-L-R-L-L
Single Ratamacue A single ratamacue consists of four notes. The first note has drag grace notes and the fourth is accented, like so: L-L-R-L-R-L R-R-L-R-L-R Together: L-L-R-L-R-L-R-R-L-R-L-R
Double Ratamacue A single ratamacue with a drag before it: L-L-R-L-L-R-L-R-L R-R-L-R-R-L-R-L-R Together: L-L-R-L-L-R-L-R-L-R-R-L-R-R-L-R-L-R
Triple Ratamacue A single ratamacue with two drags before it: L-L-R-L-L-R-L-L-R-L-R-L R-R-L-R-R-L-R-R-L-R-L-R Together: L-L-R-L-L-R-L-L-R-L-R-L-R-R-L-R-R-L-R-R-L-R-L-R
