technique progress chart, 25 technique exercises
DESCRIPTION
exerciseTRANSCRIPT
TECHNIQUE WORKOUT:LESSON PROGRESS CHARTWebster’s Dictionary describes technique as “The skill or command in handling fundamentals.” Developing technique, or the skill of playing the snare drumfundamentals is just as important as learning about notes and rhythms! Below is a chart of the suggested technique exercises and rudiments that correspond toeach lesson in the book, along with recommended tempo markings.
Note: The suggested tempo markings are USELESS unless the correct stroke styles and techniques described in each lesson are strictly administered. Thesetempos merely serve as a guide to your progress. If you are unable to play the suggested tempo with the appropriate technique, then you may consider spendingmore time in each practice session on the exercises and rudiments!
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
Lesson 7
Lesson 8
Lesson 9
Lesson 10
Lesson 11
Lesson 12
Lesson 13
Lesson 14
Lesson 15
Lesson 16
Lesson 17
Lesson 18
Lesson 19
Lesson 20
#1
h= 90
#2
h= 90
#1
h= 100
#2
h= 100
#3
q= 120
#4
q= 120
#1
h= 110
#3
q= 160
#4
q= 140
#5
q= 140
5 Str Roll
e= 70
Single Str 4
q= 70
#6
q= 140
#1
h= 120
#3
q= 180
#4
q= 160
#5
q= 160
#6
q= 160
#7
q= 80
5 Str Roll
e= 80
Single Str 4
q= 80
#1
h= 126
#3
h= 100
#5
h= 80
#6
h= 90
#8
q= 100
#9
q= 80
Paradiddle
q= 90
5 Str Roll
e= 80
9 Str Roll
e= 80
Single Str 4#1
h= 132
#3
h= 110
#5
h= 86
#8
q= 110
#9
q= 86
#10
q= 100
Paradiddle
q= 100
5 Str Roll
e= 86
9 Str Roll
e= 86
13 Str Roll
e= 90q= 90
Single Str 4
q= 96
#1
h= 140
#3
h= 120
#5
h= 92
#8
q= 120
#9
q= 92
#10
q= 120
Paradiddle
q= 110
5 Str Roll 9 Str Roll
e= 92 e= 92
13 Str Roll
e= 92
Flam
q= 60
Single Str 4
q= 100
#1
h= 144
#3
h= 130
#5
h= 98
#8
q= 126
#9
q= 98
#10
q= 140
Paradiddle
q= 120
* Rolls Flam
e= 98 q= 80
Flam Tap
q= 80
#11
q= 60
Single Str 4
q= 110
#1
h= 150
#3
h= 140
#5
h= 102
#8
q= 132
#9
q= 102
#11
q= 70
Paradiddle
q= 130
* Rolls Flam
e= 102 q= 90
Flam Tap
q= 90
#12
q= 90
#1
h= 160
#5
h= 110
#8
q= 136
#9
q= 106
#11
q= 80
#12
q= 100
Paradiddle
q= 140
* Rolls Flam
e= 110 q= 100
Flam Tap
q= 100
#13
q= 60
Single Str 7
q= 80
Single Str 7
q= 84
q= 88
Single Str 7 Flamadiddle
q= 90
Paradiddle
q= 144
D.Paradiddle * Rolls
e= 130 e= 120
Flam, F.Tap
q= 110q= 92
Single Str 7 Flamadiddle
q= 100
#1
h= 164
#8
q= 140
#9
q= 110
#11
q= 90
#12
q= 110
#13
q= 70
#14
q= 110
Paradiddle
q= 148
D.Paradiddle * Rolls
q= 140 e= 130
Flam, F.Tap
q= 120q= 96
Single Str 7 Flamadiddle
q= 130
#1
h= 168
#8
q= 144
#9
q= 112
#11
q= 96
#13
q= 80
#14
q= 120
#15
q= 60
*Paradiddles
q= 150
* Rolls * Flams
e= 140 q= 130
Flamacue
q= 100q= 100
Single Str 7#1
h= 172
#8
q= 148
#9
q= 114
#11
q= 100
#14
q= 130
#15
q= 64
#16
q= 70
*Paradiddles
q= 160
* Rolls * Flams
e= 150 q= 140
Flamacue
q= 112q= 104
Single Str 7#1
h= 174
#8
q= 154
#9
q= 116
#14
q= 140
#15
q= 68
#16
q= 80
#17
q.= 70
Ruff
q= 60
*Paradiddles
h= 85
* Rolls * Flams
q= 80 h= 75
Flamacue
h= 62
#1
h= 176
#8
q= 160
#9
q= 118
#14
q= 150
#16
q= 90
#17
q.= 80
#18
q = 100
Ruff
q= 70
Drag Para #2
q= 120
*Paradiddles
h= 90
* Rolls * Flams
q= 85 h= 80
Flamacue
h= 68
#1
h= 178
#8
q= 164
#9
q= 120
#14
q= 160
#17
q.= 100
#18
q = 110
#19
q = 90
Ruff
q= 80
Drag Para #2
h= 70
*Paradiddles
h= 100
* Rolls * Flams
q= 90 h= 85
Flamacue
h= 76
#1
h= 180
#8
q= 168
#14
q= 170
#17
q.= 120
#18
q = 120
#19
q = 96
#20
q = 70
Ruff
q= 90
Drag Para #2
h= 80
*Paradiddles
h= 110
* Rolls * Flams
q= 95 h= 90
Flamacue
h= 84
#1
h= 182
#8
q= 172
#14
q= 180
#18
q = 140
#19
q = 102
#21
q = 140
#22
q.= 70
Flam Accent
q.= 90
Drag Para #2
h= 90
*Paradiddles
h= 120
* Rolls * Flams
h= 100 h= 100
Flamacue
h= 92
#1
h= 184
#8
q= 176
#14
q= 200
#18
q = 160
#19
q = 110
#22
q.= 80
#23
q = 80
Flam Accent
q.= 90
Drag Para #2
h= 100
EXERCISES: RUDIMENTS:
76
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TECHNIQUE WORKOUT:EXERCISES
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These sticking exercises work on the relaxed rebound stroke described on page 6. Strive for an even volume and consistent tempo from right to left hand.
Exercise #1: “Rebound” Exercise #2: “Stick Control 1”
Exercise #3: “Four & Four Buzzes”This exercise works on the multiple bounce, described on page 9. Try to make each bounce “bleed” into the next stroke for a smooth buzz sound.
Exercise #4: “Four & Four Doubles”These exercises should be used to develop a relaxed double stroke. While seated, lay your hands on your leg & practice Exercise A using just your wrists.Each stroke should be very relaxed – with no arm motion at all! Once you develop quick, relaxed doubles on each hand separately, move to Exercise B.
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Practice this exercise with your hands on your legs, or with your sticks on a pillow (or something that offers no rebound at all). Strive for a smooth motionfrom measure one to measure two, with only the wrists and fingers creating the second stroke. Above all else, STAY RELAXED!
Exercise #5: “Isolated Double Strokes”This is another exercise that works on the double stroke – this time isolating each hand one at a time, then putting them back together. The same techniquesapply: use very relaxed wrist and finger motions to produce the double stroke, but DO NOT BOUNCE THE STICK. Great sounding rolls are achieved only withthe ability to use wrist and fingers on double strokes.
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TECHNIQUE WORKOUT:EXERCISES
Exercise #6: “Stick Control 2”This is a more difficult exercise to develop control over rebound strokes using various sticking patterns. Stay relaxed and listen for a consistent sound fromhand to hand. Watch that the quarter notes are given their precise rhythmic value (don’t rush them)! Play measure 1 & 2 three times, then meas. four & five.
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Exercise #7: “Mr. Freeze”Use this exercise to work on downstrokes (described on page 9), taps (described on page 14) and upstrokes (described on page 11). Squeeze the stick slightlyon each downstroke to control the rebound and “freeze” the stick 2 inches above the drum, then immediately relax the hand for the taps and upstroke.Play the taps as soft, relaxed wrist strokes (2–3 inches), then lift on the upstroke to prepare for the next downstroke.
Exercise #8: “Bucks in Three”Using the same basic technique as Exercise #7. Strive to play the exercise at two heights: 12 inches (a “full” stroke) for the accent and 2–3 inches for the tapand upstroke. Remember: let the weight of the forearm and wrist take care of the volume of the accent! Don’t use any more tension than is necessary!
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Exercise #9: “Extended Doubles”ONLY practice this exercise with your hands on your legs or with the sticks on a pillow! Stay relaxed, but do not allow the stick to bounce.
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Exercise #10: “Flam Prep”Use this exercise to isolate the soft, relaxed grace notes of the flam as described in Lesson 7. Remember: two heights – 12 inches for the PRIMARY stroke, 2inches for the grace notes. Exercise C should be played with an upstroke motion on the final grace note to prepare for the flam on the opposite hand.
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TECHNIQUE WORKOUT:EXERCISES
Exercise #11: “Alternating Accents”This exercise works on the same two height concept as Exercise #7, this time throwing in some taps BETWEEN the downstrokes and upstrokes. Watch themotion that is made on the 8th notes, then strive for the same motion on the 16ths. Listen for a consistent sound on ALL of the innerbeats.
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Exercise #12: “16th Note Timing”Work with a metronome and strive for rhythmic accuracy on this exercise. Maintain a relaxed REBOUND stroke all the way through. Use a full stroke at theslowest tempo, then slightly lower the stick heights as you increase the speed.
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Exercise #13: “Roll Prep”Unlike the double strokes in the previous exercises, this one applies the BOUNCE technique described on Lesson Eleven. Maintain a consistent motion of thehands throughout. Exercise A works on the double bounce (or “open” roll), Exercise B uses the multiple bounce (“buzz”) roll.
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Exercise #14: “Grid Diddles”This exercise uses a simple “grid” pattern to isolate single hand diddles. The diddle shifts on the four note “grid,” from the first note, to the second, to thethird, etc. At a slow tempo, use the wrist and fingers to produce a controlled double STROKE. Faster tempos require a double BOUNCE.
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TECHNIQUE WORKOUT:EXERCISES
Exercise #15: “Flam Control”Use this exercise to develop control over alternating flams. The motion that is used in the first measure is EXACTLY THE SAME as the motion in the second.Practice playing the primary stroke of the flam in the air just above the drum (sometimes called a “fake flam”) to develop control over the downstroke.
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Exercise #16: “Chicken and a Roll”Work for an even motion from the 16th notes to the bounces. Count the “roll skeleton” out loud to ensure a consistent tempo. Use double bounce as well asmultiple bounce rolls and practice starting on the left as well as the right.
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Exercise #17: “Alternating Accents in Three”This is another two height exercise. Play each accent with a full stroke and innerbeats at 2–3 inches. Practice playing this exercise in the air above the drumto gain control over the downstrokes. See how close you can come to hitting the drum without actually doing it!
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Exercise #18: “Grid Flams”Using the same “grid” concept as “Grid Diddles.” The first measure in each segment isolates the accent pattern, then you’ll add the flam in the second.Watch your sticking very carefully! Even with the flam shifting from downbeat to upbeat, the sticking remains consistent.
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Exercise #19: “Chicken & a Tap Roll”
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TECHNIQUE WORKOUT:EXERCISES
Exercise #20: “Flam Tap Rebound”As the speed increases on Flam Taps, it becomes necessary to play rebound strokes instead of controlled strokes. Use a full stroke on the accent, but allowthe stick to rebound for the second and third notes. The third note becomes the grace note for the opposite hand flam.
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Exercise #21: “Flam Accents and Single Drags”Use this exercise to isolate the alternating motion of the hands on Flam Accents and Single Drags.
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Exercise #22: “Flams, Drags and Rolls”The two height motion in the first measure should be exactly the same in the second. Play the accents at 9 inches and taps at 3.
Exercise #23: “Triplet Timing”This exercise works on the rhythmic timing of triplet patterns. Play at a consistent volume level with REBOUND strokes.
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