by mark wessels
Rudimental Ramblings: What Are “Rudiments” Anyway?
January 19, 2010 8:28 am in Concert, Drumset, Marching by mark wessels
This is the first part of what will probably be many posts from me on the subject of rudiments.
Before I get started – I want to make it known that I do not claim to be an “expert on the rudiments”. I have written books that include rudiments, I’ve taught the rudiments to many students, and have always been a proponent of rudimental drumming. I’ve taught a top 12 DCI drumline and have judged at the top level for DCI and WGI. And I pitched Vic with the idea of creating a poster of the PAS rudiments, along with a website feature that includes video and audio playalongs (which, to date, we’ve printed and distributed well over 1/2 million to schools and students around the world).
Having said all that, I’ve always been a little uneasy about the concept that there should be an official list of “40 Essential Rudiments”.
When I was young, I was secure in the notion of an official list waaay back in the day when I was taught the N.A.R.D. “original 13″ and “standard 26″. At the time, it seemed that most rudimental literature (solos) and drum corps drumming centered around that vocabulary. If you practiced your rudiments, then working up a Pratt or Markovich solo was fairly straightforward.
However, as drum corps and rudimental drumming evolved, the rudimental vocabulary began to expand dramatically. A PAS committee was formed to update the list to include new “essential” rudiments. It was a valiant effort, but the notion of keeping a clear-cut list began (for me at least) to be out of step with reality. The vocabulary pipes have burst and we’re trying to run around with a bucket and a mop.
Couple that progression with my own experience here at VF and I’ve completely lost a grasp on the concept. One minute, I’m hanging with “old-school” rudimental drummers who insist that the Standard 26 is all that we need. The next, I’m filming amazing drumset players who have never practiced an essential rudiment in their lives. I’ve had discussions on the subject with top level drumline instructors who say emphatically that there are really only 3 ‘rudiments’ (the single, double and flam) and accomplished concert artists who think that rudimental technique can (or will) ruin a relaxed approach to the instrument.
Clearly, the rudiments are a Rorschach ink-blot test for drummers and percussionists. Depending on your background and current perception, the “rudiments” can be anything you want them to be.
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THEN WHY DOES IT MATTER?
In my opinion, those who teach (both young percussion instructors and non-percussionist band directors) – and beginning students look to us for guidance. I take my role as both an author and here at Vic Firth seriously. On vf.com, we have about 30,000 unique viewers a day come to the site – and around 35,ooo unique visits each and every month to the rudiment feature page. I think what we tell them matters.
What should we be saying? That these are the 40 Essential Rudiments – and you should know all of them? From the Single Stroke Roll to the Flammed Mill and Triple Ratamacue – they are ALL important???
Currently, I think each of us approach the rudiments from our own Rorschach test. What genre am I focused on – and are the rudiments necessary?
As a teacher, how can you know where a beginning student’s interests will take him or her? If you ignore the rudiments, are you going to hobble their future chance of success?
So, as a ‘proponent’ of the rudiments, I have to ask, “Is there a baseline of “Essential Rudiments” that EVERY drum/percussion student will benefit from?
If so, should a list of “rudiments” be defined based on the true dictionary term (a “basic principle or element” or “a fundamental skill”)? Or are we solid in our current way of thinking that a list should be representative of the “VOCABULARY” of current rudimental drumming?
In my opinion, I think we should scrap the perceived notion that “The Rudiments” are a list of patterns because we’ll never come to any agreement on which ‘scales’ are important enough to include on the “Essential List”. For the Ancient Drum & Fife drummer, it’s the Standard 26. For the drumset player, it’s probably 6-8. For the drum corps/wgi drummer, it’s 128 (and growing everyday).
I propose that we should instead come up with - and heavily promote – a list of true RUDIMENTS – the basic elements, fundamental skills – that young drummers and teachers should use. In doing so, I believe that we could get the rudiments to become universally accepted.
What do you think?
Go ahead, I’ve already girded my loins for the discussion. :0)
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In my next post, I’ll discuss what I feel ARE the ‘essential rudiments’.
I think one of the strong points to Jeff Queen’s book that you published is how he has the rudiments grouped, by motion or stroke type (down-stroked motion, controlled rebound, inverted, combination). I think introducing rudiments that cover these territories, giving students the fundamentals of each one of these, will allow them to take their rudimental studies in whatever direction their experiences lead them. I think the list should
So here’s my list:
THE ABSOLUTE FUNDAMENTALS
buzz roll
double stroke roll
single stroke roll
single paradiddle
paradiddle-diddle
flam
drag
RUDIMENTS BY STROKE TYPE
flam accent (downstroked motion)
tap drags (downstroked motion)
flam tap (controlled rebound)
inverted flam taps (inverted motion)
flamacue (while this is also an inverted motion, I think the motion going from a grace note to an accent needs to be addressed in addition to going from a tap to an accent. Gridding flam accent feels different than simply playing inverts)
With this list I can think of the directions one could go in the rudimental world and the drum set world (Garibaldi grooves come to mind with all the inverted motions, specifically the flamacue-type motion).
I think you guys are right… Most players who are successful work on a series of exercises that implement the basic strokes (rudiments) – then practice essential rudimental vocabulary as needed.
I think the problem usually lies with young players who need guidance and non-percussionist band directors who are teaching beginners. They look at a list and easily become overwhelmed. Or they start at the top and try to work their way through, starting with the single stroke “roll”. And you have many, many drumset teachers out there who ignore teaching rudiments to their students because they really don’t feel that it applies.
Based on the current list, I can’t say I blame them. Who wants to learn the Flam Paradiddle-diddle or the Double Drag? (I’m sure it appears in some “Rudiments Applied to the Drumset” book, but really… ?).
If we provided a clear list of obtainable fundamentals, along with a short list of “essential vocabulary”, I think we could reach many more students – and do better by them, at least in the early stages of their drumming careers.
I’ll be posting the next installment in the next couple of days. Nothing earth shattering, but it’s great to get feedback on the thought processes of other players and teachers. Thanks for your input!
Hi Mark/everybody,
I’m still willing to stand my ground on the 8 (or so) basic strokes concept, but I’d like to delve further into your discussion on the essential rudiments.
First, I wholeheartedly support the preservation of rudimental drum history; however I feel that contemporary rudiments such as a flam-five have more relevance today than a triple ratamaque. I could easily see a revised “modern” list – including cheeses, and parabuzzles, but I wouldn’t trash the “old-school” list which is standard today. Instead, perhaps separate “contemporary concert/symphonic”, “contemporary drum line”, (and “contemporary drum set”??) lists could be created. For example, many of the drag rudiments seem outdated for marching, but not concert settings. And the marching drummer who practices the “Standard 40” is only somewhat prepared for today’s marching music. This type of categorization might help band directors (and self-taught drummers) sift through what is pertinent rather than following a “one list suits all” approach which may not properly prepare the student.
All of that stated, my list of “sight word” – all percussionists should learn – rudiments would include:
Measured rolls – - open, closed, and single stroke – including ruff or drag (3 stroke roll)
Tap rolls
Buzz rolls
Single and Double Paradiddles and Paradiddle-diddles (and all inversions)
Double-stop (flat flam)
Flam
Flam accent
Flam tap
Swiss Army Triplet
Flam paradiddle
Pataflafla (plus inversions)
Further, I feel it’s essential to spend time going through grids, check patterns and solo literature in order to learn the rudiments in context.
Hey everybody,
I am new to drumming so I can’t say much on the matter but I can say this; to me the rudiments have been invaluable. So, it comes at no surprise I find this article rather provoking. I do not disagree that the list is a little cluttered, but I feel there is one element of drumming that has been over looked in this discussion.
That element is sound. Yes, rudiments teach sticking, but I have found that their main purpose is to teach a greater understanding of the sound those sticking patterns create. I look to the rudiments to give depth to my understanding of the sound of sticking patterns, not to just teach me stick coordination or individual stokes.
That being said, I do feel there should be a basic list of strokes – strokes like the full stroke and the down stroke. In fact, I do practice these strokes separately from the rudiments. Practicing these outside of the rudiments has helped me increase control of my sticks and have made my rudiments sound so much better. However, these sticking exercises have not helped me with creating a greater sense of musical patterns and musical understanding.
Though I have found the list a little cluttered, I actually want to see more rudiments. There are times when I have separated out individual parts of solos just to practice them. These parts may last one beat or several beats, but to me they are very rudimental.
To me the list is incomplete. To help with the clutter maybe the list should be categorized. I found the “logical learning sequence” very helpful and it seems that it could be a step in the right direction. This is also apparent in the separation between the more basic 26 and the more complex 14 that come after.
I don’t think anyone here wants to scrap the rudiments. Maybe scrap a few, but not all of them. However, this is not the right approach. Each rudiment is a rudiment for one reason or another and each rudiment does increase a drummers ability to play. Maybe there are a few rudiments that are more advanced than the others, but they are still rudiments because they teach a greater understanding of musical depth.
Konstantin Koverchenko
I think the current list of Essential Rudiments should be stripped of its useless clutter and broken down to the most basic stick motions and techniques there is. The real rudiments I think are just the 4 basic types of strokes plus the rebound stroke and moeller.
The current list of “Rudiments” are just mixtures of them.
Mark, first of all, I want to congratulate you on a fantastic endeavor of revamping the web design. I enjoy your method book, A Fresh Approach to Sanre Drumming, which I currently use for my private lesson students.
I agree that we should simplify things and focus on the fundamentals and the basic concepts. There are so many different approaches to teaching rudiments. The main thing though should be to be fundamentally sound. I like the concept of teaching the seven essential rudiments as presented in Jay Wanamakers Snare Drum Rudiment Dictionary. Again, though, it just depends on the goals of the student and the instructors because there are alot of students who focus solely on the hybrid rudiments, but don’t know how to execute a paradiddle of flam correctly.
Alot of times people don’t learn the techniques correctly the first time or either they learn and forget what they’ve learned as soon as something new is introduced.
Rudiments are just like scales. There are not any shortcuts. You learn one pattern of notes in one key and you continue until you’re familiar and proficient in all keys. These scales consist of only seven notes. I believe if we consider the most basic rudiments and focus on those first, then students will really execute at a high and comfortable level of performance.
TH
“WOW” Isn’t this ironic. I woke up this morning, thoroughly frustrated, confused and depressed about my drum playing and what “rudiments”, among other things, I need to practice to improve my skill level. Then I read this.
YOU TOTALLY MAKE SENSE!
What you are doing might greatly help a guy like me. Maybe in your thought process, you can keep drummers like me in mind, or maybe you already have. Unfortunately, there are alot of us.
I am 58 years young and just started playing in a band again after 35 years. (You know, raising family etc.) I have always played by ear and play well enough to get by. I took just a hand full lessons over the years, and feel that I don’t know squat about drumming. Now that I have the time, I want to improve my skill level and confidence, so I can try different things.
I am totally frustrated and confused as to what “rudiments” I should be working on, how to apply them to the set and what else I should be practicing to become a better drummer.
The big problem now is, I feel so “overwhelmed” by all the things I have been reading and listening to, that I am not practicing as much as I did in the beginning, because I don’t know where to start.
Your idea may just solve this problem for me and others.
“HELP, HELP, HELP” and THANKS!
Joe
Thanks for the comments, guys. I’ve had a ton of feedback and questions outside of the Exchange, so I thought I might post something a little more in-depth that might clarify my current philosophy on the rudiments.
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Our current list of “rudiments” are actually not fundamental elements to drumming – they are patterns that reflect the VOCABULARY of drumming.
You can take a similar viewpoint and apply it to language or written words. The basic elements are the letters of the alphabet – not words themselves. The ‘rudiments’ of the english language are very easy to define. Coming up with a list of “essential vocabulary” isn’t.
Throughout history, rudiment lists were created in the attempt to capture “the essential vocabulary” of rudimental / miliary drummers. In the earliest military music, common drum calls or cadences were created using these rudimental patterns.
Another analogy to the alphabet vs vocabulary:
When you learned to read (which my son is doing now), there is a list of “sight words” that every kid needs to know. Let’s say that he learns all (making up a number) 250 sight words. That’ll help him learn to read x number of books on a basic level. As he progresses, he learns new words – and even “hybrids” of words that will expand his vocabulary to the point where he can read an exponentially larger number of books.
So, I’m not at all advocating not maintaining or updating a list of “rudimental vocabulary”. Quite the opposite, actually. I think Hybrid Rudiments are as important (or more so) than most of the current list of “Essential Rudiments” — if the music you play demands a higher vocabulary.
In the rudimental drumming world, if you want to read Shakespeare rather than Nancy Drew, you need to have an extended vocabulary.
Hi Mark, it seems that you are proposing a “rudiment” list of essential skills for any and every drummer.
I think Jon Wilson’s idea in the post above is on the right track. Maybe make an exercise for each type of stroke like the drum corps and marching band world does . For example, an accent tap exercise works on upstrokes and downstrokes. Rudiment percussionists work on these strokes everyday, I guess the difference would be that we do it in a different way than a drum set player.
The fun part will be figuring out how to make specialized techniques work across the board for every drummer. That sounds like too much thinking for me, so luck good.
Marc
I totally agree because I remember playing drums as a kid and learning the “essential rudiments” when I started playing in the middle school band. I was just beginning to play drums even before I got into band and I would sometimes play at my church and I got by playing a simple rock and latin beat. Then I got into playing doubles and mastering the singles from learning them in school. I hadn’t used the triple stroke ruff or the flamacue on drumset ever because I never really didn’t need to. But then in college and high school I started taking snare drum lessons and my professors there strongly urged knowing all of them. I had a hard time for a while trying to incorporate every rudiment on the set and I thought man I must not be a really good drummer since I can’t use every rudiment on the drumset. But now I realize that I might really be using them without even knowing it. Drum Corp and marching drummers in college like to use a lot of hybrid rudiments but it seems that its really just the essential rudiments being used so why would they be called rudiments instead of just rhythms or as we say in the drumset world “licks”. There has to be a level above the rudiments, which are the basics, that a drummer should be able to reference. So its really not making new rudiments because that’s kind of an oxymoron in itself a new basic skill for something that’s been done for over 200 years? So I think that new or hybrid rudiments should be rudiments they should just be expanded vocabulary. So I think that coming up the essential basics list and maybe an expanded library is a great idea.
Another good one, Mark!
Many of us who teach beginners find ourselves simplifying the rudiments to basic movements of the stick(s) and hand(s). In your book, A Fresh Approach to the Snare Drum, you introduce strokes such as the full stroke, down stoke, up stroke tap, and the buzz as the rudiments appear throughout the lessons.
Perhaps, if we were to “retool” the system, (which could mean another poster!) it could be simplified to basic strokes and motions.
Including:
Full stroke
Down stroke
Tap
Up stroke
Buzz
Rebound
Whip stroke
Finger stroke
I might even include a silent up stroke (should I do a video?)
That pretty much sums up EVERYTHING done with sticks and mallets. (Brushes are another chapter!)
All of the rudiments – original 26, contemporary hybrids, etc. are combinations of those basic (or rudimentary) motions. So I guess what I’m saying is those eight strokes (more or less) are our rudiments, and what we call rudiments now are simply combinations of all of those. Some of us use more combinations than others, and there will always be new combinations being “invented”.
To use a language analogy, I see those primary stokes as our phonetics we learn; and what we call rudiments are words. Phrase them into groups and you have sentences, and so on…. So anything you have to say boils down to phonetics and vocabulary. Can we retool our “rudimental system” into more of a dictionary style?? – One that lays out phonetics, our system of rhythmic notation, and then all of the current combinations therein?
Of course, as there are multiple levels of language dictionaries (i.e. kids vs. collegiate), there could be the same for our rudimental dictionaries (elementary vs. DCI).
In other words, we’re all speaking the same language. Some just use more words than others!