All 40 Rudiments - Daily Drum Lesson

hi my name is Nikki head welcome to daily drum lesson today we're going to talk about the forty rudiments the rudiments are a list of 40 exercises which are the foundation of drumming and today I will show you all of them you will learn the techniques involved I will show you the notation which sometimes is a bit weird and I will tell you how they are related to each other if you're just looking for a specific rudiment look for the index in description below and click the timecode a very important part of the rudiments is the technique so before we start I want to show you the grip and the basic stroke I will demonstrate everything in matched and traditional grip so if you're a match player just ignore my left hand and apply everything I do with my right hand to both of your hands the most important part of a good grip is a loose and relaxed hand you just put the stick in and you're done the only point where you really hold the stick is right here between the index finger and the thumb this is the fulcrum it is usually about a third in on the stick if you're using Vic Firth just go for the flag the other three fingers are just gently supporting the stick you can now either play with your thumb or with the back of your hand facing up it just depends on the situation I for example like to play with a thumb up when using my fingers and with the back of my hand up when using my wrist when I use my wrist I also move my fulcrum from an index finger to my middle finger it just feels natural to me there really is no right or wrong way to hold the stick since every hand is different if it feels good and you can achieve your goals it is correct we now execute a stroke by throwing the stick on the drumhead or in this case the path and letting it come up again by the rebound just like dribbling a ball the most important part here is to give the stick enough room to freely rotate on the fulcrum if my hand is closed I don't have a fulcrum and won't have any rebound so a loose and open hand is the key to a great technique if you want to reach even higher temples and eliminate the risk movement and only use your fingers to drive the stick if you play match grip you just do this with both hands if you play traditional your other forum is too right here between your thumb and the palm of your hand the index middle and ring finger just gently support the stick but they don't interfere the equivalent of a wrist stroke and match grip would be a stroke made by the rotation of the forearm the equivalent of a finger stroke would be to drive the stick with your thumb or driven it with your index finger from above enough technique talk let's start there are four families of rudiments roll rudiments paradiddle rudiments flam rudiments and drag rudiments let's start with the roads we divide this family even further in single strokes multiple stroke roads and double strokes here we go rudiment number one is even called the single stroke roll we just alternate our hands right left right left remember to make use of the rebound and take it slow rudiment number two the single stroke for this rudiment is also based on single strokes but has a specific rhythm to it it is three sixteenth note triplets and an eighth note da-da-da-da-da-da-da-da to maximize the efficiency of your practice time reversed sticking so you go right left right left left right left right the last rudiment of the singer straw growl family is the single stroke seven it is six 16th note triplets and a quarter note da da da da da da dun da da da da da da da you should also start this with right hand and left hand need alternating next group of roles is the multiple stroke rolls we start with a multiple bounce roll for this one we need a special technique we hope the stick between our index finger and thumb and apply quite a bit of pressure this really is the only occasion where we apply pressure to the stick and then we press it into the drum and so we get this short bus to make this bus even longer try to release the pressure very slowly by pressing the stick in the head we now do this with both hands alternating to get a close and continuous roll going I will demonstrate this one on the snare cuz it works way better than on the pad [Music] number five second and last member of the subfamily of rudiments the triple short roll very simple just three strokes per hand right right right left left left what's your technique make use of the rebound now we come to the last and biggest group of the Roll rudiments the double stroke rolls and again we have to look at another technique tablets rod means we are playing two strokes with one hand and unlike the triple strokes we just did where we basically just play three single strokes in a row we have a special technique for doubles it's very close to our single stroke technique but instead of letting the stick rebound and allowing the hand to go back up with the stick we keep our hand down and let the stick rotate in this gap between our thumb and index finger my whole hand is open at this point because I allow the back of the stick to push my fingers out part two of the stroke is you just close your hand so basically you are being the first stroke with your wrist and the second one with your fingers again you can do this with the back of your hand facing up or your thumb facing up just see what works better for you for the traditional grip players out there it's the same you do one stroke from the rotation of the forearm and then the second one with your thumb by closing your hand so let's look at the first rudiment of this group the double stroke roll we just play right right left left over and over again but the rotation is a bit strange here we got this half note with three line through the stem that means we play as many thirty-second notes as we can fit the duration of a half note let's do this beam per beam a half note has 4 eighth eighth sixteenth or sixteen thirty second notes this notation is often used for double strokes let's see how the salts okay let's look at the other double stroke roles they are quite a few but they are all pretty similar these first four are our main roles let's check out the notation first here we have one eight there are two sixteenth or four thirty-second notes followed by an eighth note so we got five strokes the five stroke roll here we got two eighth notes four sixteenth notes or eight 32nd notes followed by an eighth note the ninth stroke roll this dotted quarter-note are three eight six sixteenth or twelve thirty second notes the 13 stroke roll and a half note are four eighth eighth sixteenth or sixteen thirty second notes a seventeenth stroke roll you see every one of these is just four strokes longer than the one before these are number 7 10 13 and 15 on the rudiment list so there are some other roles missing in between but we will start with these since they are so similar since we end with an eighth note we have plenty of time to switch hands so when we play this over and over again with switch leads from right to left hand right right left left right left left right right left and so on let's start with a five stroke roll just make sure you are using a clean double straw technique and don't play each note individually the nine stroke roll just the same as the five stroke roll but one pair of extra doubles up next the 13 stroke roll and finally the 17 stroke roll let's look at the next group of double stroke rolls we split the eights notes on which we end in two sixteenth notes in this case here we move the new node to the beginning this is the six stroke roll here the note stays where it is this is the tenth stroke roll and here we would theoretically get a fourteen stroke roll but this isn't on the rudiment list neither is the eighteenth stroke roll the six drug role is one of the most popular rudiments but not often played in the traditional way you see it written here it's more often played like this as a sex tablet you see this rudiment doesn't reverse itself so you have to practice it both ways starting with right and with left here it is in the traditional way and in the more modern way as a sex tablet the tenth short roll doesn't reverse itself - so you should also practice this starting with right and with left all right let's look at this next batch of double stroke rolls we now table this extra sixteenth note we add it in earlier and make it two thirty-second notes this gives us the seven stroke roll the 11th stroke roll and the fifteenth stroke roll the nineteenth stroke roll doesn't exist it isn't part of the official rudiment list all these are mostly started with the same hand even though you could alternate the sticking if you wanted to it's easier to just stick with either the left or the right hand since you're ending with a sixteenth note and you don't have much time to change the sticking so again practice them both ways here is the seven stroke roll let with the right hand the 11th stroke troll led with the left hand and the last remit of the role family the 15 stroke troll net with the right hand all right family number two the tera Dill's these are all combinations of singles and doubles so we can apply all the techniques we learned earlier but we need to look at another important technique and that is the mono technique we need this to play the accents if you're new to the world of paradiddles just ignore this get comfortable with the sticking first before you look at the accents anyway the idea behind this technique is simple every loud note starts high and every soft notes start slow now we define starting and an ending point for every node we play the starting point says if we are about to play an accented or an eccentric note the ending point says if the note after it is accented or unaccepted let me explain if I want a loud note followed by a loud note I start high and I anti this is called the full stroke and it's really exactly what I showed you in the beginning of the lesson just a normal stroke if we want a soft nod followed by a soft note we start low and we enter low this is called a tap stroke and it's basically the same as a full stroke but smaller a loud note followed by a soft note is a Down stroke we start high and we end low the idea behind this is to close your hand right before the stay can bounce up again now the most important one the AB stroke a soft note followed by a loud note you move your arm up while you drop your wrist and this is really more a dropping than a hitting ok this seems to be a lot of theory but practically it's not that much and this family of rudiments every accent is a Down stroke so just always choke your rebounds after your accents and if you now know where your app strokes are you can take this to unlimited temples let's look at rudiment number 16 the single paradiddle right left right right left right left left when we exit the downbeats our up strokes are here and here number 17 is the double paradiddle so we add one pair of singles to the paradiddle right left right left right right left right left right left left the accent stays on the downbeat so our upstroke stay the same number 18 the triple paradiddle we add one more pair of singles right left right left right left right right left right left right left right left left once more the accent stay the same so we have our upstrokes here and here number 19 the paradiddle diddle we add one double to the single paradiddle right left right right left left right left right right left left here the sticking doesn't reverse itself anymore so we have to practice it both ways starting with right and with left next family the flam rudiments a flam is a very soft note played right before a normal note it sounds like this it is important that you don't play the flam too close otherwise it would just sound like one note and don't play it too far apart either otherwise it sounds like two independent notes and not like a flam if you now play right-handed and left-handed flam's alternating you got rudiment number 20 the phlegm both hands are actually playing alternating up and down strokes here so you've got a lot of wrist movement going on okay we got lots of flam rudiments to cover so let's make sense of what is going on here we got some rudiments which sound the same but are played with different stickings let's look at these first sixteenth notes with a flam downbeat can either be a flam paradiddle or a single flap Mill the flam paradiddle is just like the normal paradiddle right left right right left right left left but with a flam downbeat this gives you four consecutive taps to play so this is really a great workout for your fingers the single flam mill is some kind of a reverse paradiddle right right left right left left right left and again with a flam downbeat the trick here is to catch the stick right after the accent to keep the second stroke low if we now cut off the last sixteenth note we get our next two rudiments the flam accent and the Swiss Army triplet but we don't reverse the sticking on the second one here we play it either with the right hand or with the left hand okay the flam accent is very similar to the flam paradiddle but it's actually a bit easier because we only have three consecutive tabs instead of four the Swiss Army triplet is very similar to the single flam Miller just keep the second stroke low and you're good if we now cut off one more note we end up with an inverted flam tap and a flam tap the inverted flam tab is an inverted double stroke roll right left left right right left left right and the whole thing is flamed this is really a tough one so take it slow the flap tab is a normal double stroke roll right right left left right right left left and that is flapped all right the next two are just some variations on the flam accent if you take a flam accent and double the middle note you have a flam drag let's have a look at this rudiment the patter flah flah weird name I'd like to think of this as some sort of flam accent variation too because up to this point it basically is a flam accent and then it repeats itself watch out the two consecutive slams might be a bit tricky the next one is pretty interesting the flam paradiddle diddle a flam paradiddle with an extra double in the end and other than the normal paradiddle diddle we switch the lead from right hand to left hand the last flam rudiment is this the flam RQ I'd really like to say something clever now and bring it all in a logical context but I can't this is just a weird little rudiment it starts with a low flam and has the syncopated funky accent on the one a sounds like this last family drag rudiments these took me a while to get my head around a drag are basically just too soft tabs before a note but other than the flames these have a rhythmic value that means they are slower and lower temples and faster at higher temples other than the flam which is always the same it doesn't depend on your tempo the 31st rudiment the drag is basically just hand-to-hand drags I could also write it like this that way you can see the rhythmic value of the grace notes better the key to drags is understanding the notation let's check out the next one the singer drag tap to make this more understandable I write the drag as a normal note and indicated as being dragged or doubled with this little line the same we did with the doubles earlier next up the double drag tab and the same idea with the easier notation and less than 25 also with the easier notation if we left out the double we will just play sixteenth notes with an accented upbeat alright now we got some paradiddle action earlier we play the flam paradiddle where we flam the downbeat now we play a drag paradiddle where we double the downbeat rudiment number 36 drag paradiddle 1 this is just a double paradiddle where we drag the second node and drag paradiddle 2 is a triple paradiddle where we double these notes the last three rudiments on the list are the retina cues the singer Etta McHugh is just a singer stored for with a drag now we play a drag eighth note in front of the cigarette over Q and get a double ratamacue and number forty the last three men on the list the triple ratamacue we just add one more drag AIDS note we made it all forty I hope you got a good insight in the world of rudiments now it's on you to sit down and practice these that's it for today thank you ever so much for watching if you like this video please subscribe to my channel write something nice in the comments below leave a like and I'll see you next time bye bye

Channel: Daily Drum Lesson

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Rating: 4.9374323 out of 5

Keywords: 40 rudiments drum lesson, 40 rudiments lesson, 40 rudiments of drumming pdf, rudiment drum lesson, 40 rudiments pdf, 40 rudiments of drumming, 40 rudiments, rudiments drum lesson, learn rudiments, rudiments lesson, drum rudiments, rudiment, snare drum rudiments, snare rudiments lesson, rudiments, rudiment lesson, 40 essential rudiments, rudiments snare, 40 rudiments vic firth, drumlesson, drum lesson, drum lessons, rudiments vic firth, 40 drum rudiments, all 40 rudiments, drum

Id: WSC7iujjg_o

Length: 29min 50sec (1790 seconds)

Published: Sat Nov 25 2017

Reddit Comments

[u/DanTheMan_622]

Nice video man, everything is shown and explained really well.

[u/_____barney_____]

Roodyments

[u/poyerdude]

I had no intentions of watching all 29 minutes of that video but I couldn't stop.