EXERCISE #6: “DUPLE ROLLS”
This exercise works on establishing the consistent hand motion and fulcrum pressure to play diddles in the right and left hands separately, which transitions into rolls and tap rolls.
• The pattern for this exercise uses a 1-1-2 count structure (ala “chicken and a roll” or “hugga-bugga-burr”) – with 1 count of check, one count of diddle or roll pattern (repeated) and 2 counts of check, two counts of pattern.
• Maintain a consistent motion in the hands from the check pattern to the diddle and roll pattern. Practice with the play-along videos or tracks to make sure you’re staying in time (and not slowing down on the roll patterns).
• At the slowest tempo, strive for a full stick height on each stroke, utilizing the wrists and fingers to strengthen the quality of the double bounce. As you speed up, lower the stick height, but always strive to create a full bodied sound from the drum.
• Faster tempos require more fulcrum pressure to produce the double bounce. Listen to the spacing of the 32nd note bounces to regulate the fulcrum pressure.
• From medium to faster tempos, always maintain a consistent arm motion from check to diddle and roll pattern.
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Alternate Exercise for Tenors and Bass Drums
• Utilize this around pattern for buzzes and double bounces.
• Alternate 16th/32nd note splits (R L or RLRL).
• Work on this exercise slowly without diddles and rolls, making sure that you’re playing in the proper zone on each drum.
• Avoid accenting the diddles on the outside drums. Keep the wrist motion and heights consistent throughout.
• M9-12 may seem difficult at first. Learn the patterns slowly without the rolls and keep the hand motions smooth from drum to drum. After you’re comfortable with the motion, add the rolls.
• M1-4 (and repeated) has a left hand “cheat” built in to help you understand the placement of the syncopated right hand with the feet. After it becomes comfortable, try to omit the LH rims (or play very soft left hand strokes in the top zone of the drum).
• M9-12 may seem difficult at first. Each bass drummer should learn his or her part separately first, playing along with a metronome while marking time. After everyone can play the individual parts in time with the 16th subdivision, put the ensemble together.
• Also work on playing your individual part while you sing the composite bass line.
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