This exercise works on the fundamentals of playing Flam Accents.

• Flam Accents are considered the “gateway” to many of the alternating two height flam rudiments, so start slow and master the fundamentals of each section of the exercise before moving on to the next. 

• In the first section of the exercise, you are isolating the full height accent (controlled) stroke and the three soft “inner beats”. As with any two height exercise, don’t overly squeeze the stick or play with a higher velocity in order to produce the accent. Stop the stick low after the accent with just as much fulcrum and wrist pressure as is necessary, then play 3 relaxed wrist strokes at a 3 inch height.  Be sure that the soft notes are not ‘dropped’ into the drum – each should produce a full sound at a soft volume level.

• The second section of the exercise adds the grace note to the beginning of each pattern.  Remember to play the grace note with a wrist motion and do not just ‘drop’ the stick on the head.  Listen carefully to the spacing of each flam. You should be able to hear a consistent “chut” on each flam, not too wide apart (“fa-LAM”) or as double stops (“pops”).

• The third section of the exercise adds the flam on the opposite hand on the 2nd soft note. Practice this section slow, playing your left hand on the rim (on the right-hand lead section), then with the right on the rim (on the left hand lead section).  You should hear a consistent pattern on the lead hand all the way through the exercise.

• Finally, you’ll add the other inner strokes to complete the Flam Accent.  As always, listen for rhythmic accuracy and consistency of sound quality on all the strokes between the accents.

• Practice with the slowest tempo play-along video or audio file and only speed up when you’ve developed great sounding flam accents!

Including Full Battery Percussion Score and Part Booklet

Alternate Exercise for Bass Drums

• This exercise uses the same split pattern as Triplet Rolls (except without repeats).  Keep the 8th note timing consistent despite the syncopated rhythms in the snare and tenor part.


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