BUELL Ne A DEFINITIVE STATEMENT IN RUDIMENTAL DRUMMING Also Features Contemporary Works by Jon Whitlock, Stacey Duggan and Mike Lynch EanThe Rudimental Cookbook THE RUDIMENTAL COOKBOOK IS DEDICATED TO MY SON, MATTHEW EDWARD FREYTAG, AN UP AND COMING YOUNG PERCUSSIONIST AND TO ALL OF MY PAST, PRESENT AND FUTURE STUDENTS THAT HAVE MADE AND WILL MAKE PLAYING PERCUSSION AN OVERWHELMINGLY IMPORTANT PART OF THEIR LIVES. THANK YOU ALL FOR YOUR TIMELESS INSPIRATION. (he lait THE RUDIMENTAL COOKBOOK by Edward Freytag Copyright 1998 by James Edward Freytag, Jr. International Copyright Secured All Rights Reserved Published solely by ROW-LOFF PRODUCTIONS+ The Rudimental Cookbook | TABLE OF CONTENTS Statement of Purpose 4 About the Composers 5 | General Performance Notes 6 | The Original Standard 26 American Drum Rudiments —.........:.:00006 8 : ‘The Percussive Arts Society International Drum Rudiments 10 ! Contemporary Hybrid Drum Rudiments 2 Supplementary Rudimental Technique Exercises 19 | Legend 26 Easy Level Solos : Hot Licks 5 th aan 27 : Accentuate saeeseeesen. eeseeeeee Bebb 28 54+2=7 29 | i Straight Six Eight 30 ‘Add a Pop 31 Single Strokin' 32 ! Para Flams 33 Crazy Eights 34 ] Diddles-R-Us 36TABLE OF CONTENTS - CONT'D. Medium Level Solos Seven and Six Draggin' the Seven Diddle City Funky Fat Legend of a Two - Eyed Soldier Five Against Two Mean Man Matt Shala’ Advanced Level Solos Odyssey TI First In Pulse Prattfalls Method to My Madness Hit -N- Run Extremely Advanced Level Solos Tuo Kaerf And the Kitchen Sink Percussive Arts Society Information Row-Loff Productions wishes to thank Chris Dunn and Chris Brooks for the layout of this magnificert book, and Edward Freytag and Mark Donaldson for the front cover art work! RLP - 8025000 38 40 46 48 50 52 56 59 62 66 69 83 88THE ORIGINAL STANDARD 26 AMERICAN DRUM RUDIMENTS \| 4 | 1) The Long Roll SSS h TRLURREDae 2) The Five Stroke Roll 3) The Seven Stroke Roll 4) The Flam 5) The Flam Tap 6) The Flam Accent 7) The Flamacue 8) The Drag or Half Drag 9) The Single Drag or Single Drag Tap 10) The Double Drag or Double Drag Tap 11) The Single Paradiddle 12) The Double Paradiddie 18) The Flam Paradiddie 14) The Flam Paradiddle-diddle15) The Drag Paradiddle #1 RoR DR RL mL OR LL 16) The Drag Paradiddle #2 Zz 17) The Single Ratamacue 18) The Double Ratamacue 19) The Triple Ratamacue 20) The Nine Stroke Roll 21) The Ten Stroke Roll 22) The Eleven Stroke Roll r z E z eeeeee tee ——— eee N 23) The Thivteen Stroke Roll = —— = R a = i > aa —" 24) The Fifteen Stroke Roll ee ee ee Eee LOR OL Rr i JR ER ite 25) Compound Strokes (Lesson No, 25) 26) The Single Stroke Roll = = = z = = == REE Reet eee {RMany musical examples, the above 26 rudiments may be found written with altered accents and rhythms to eahance the artistry of a particular composer's work; however, the examples will still be drawn from the radmronte aleve Wee, For cieng Holated rudiments, as in an audition or a contest, itis common practi for the chosen rudiment to be played from slow to fast to slow using gradual accelerandos and decclerandos, Examples > ROL ROR LR Lt Rte RL RL EL RLERRDRLLRURELELL followed by the opposite to bring the rudiment to a close.HYBRID RUDIMENTS p 1) Cheese ‘Triple Paradiddle * VRE RULRL R&R ReLRLRELR LD 8) Cheese Paradiddle-diddle ow cx mw ae Vere on we oe ae we L R RLRRELLRURRLERELRR LRLLRRERLELDRRERLL 9) Inverted Paradiddle-diddle ee ee oe ee RELRRELLCRLERRRERR LLERLLRRRLERRLEREL 10) Inverted Flam Paradiddle-diddle 11) Inverted Cheese Paradiddle-diddle 12) Flam Flam RL RLIRULR L RLRL & LR dD RELRLRLR®L 18) Doubled Flam Flam 14) Paradiddle Flam FlamHYBRID RUDIMENTS 15) Single Hand Flam Flam 16) Cheese Flam Accent (cheeselet) 17) Dachuda 18) Cheese Dachuda 19) Inverted Flam Accents 20) Inverted Flam Drags a) coo = 3 = 3HYBRID RUDIMENTS * 21) Inverted Cheese Flam Accents a) b) 22) Triplet Pataflafla 23) Cheese Triplet Pataflafla 24) Inverted Triplet Pataflafla 25) Inverted Cheese Triplet Pataflafla 26) Flam Triple Stroke Roll (flam threes) RL ORRRLLLR L 27) Flam Tap Paradiddle 28) Inverted Flam Tap Gnverts) = 3 > 3 ——— —— Fe = az oe = SSS ESS a RRRLLEG RL RL ROR Ral L LuR R 6 6 Rul LoL RERLLLRRRLLD 7 = > 7 —S SS Se in EEeE Piste tee Reefer Eee ee ir = = Ee = 5 - “UR Lo wb Rk uk LF eb Rk cok OR -16-HYBRID RUDIMENTS 29) Inverted Cheese Flam Tap (cheese izverts) 80) Cheese Pataflafla 31) Alternated Pataflafla 32) Alternated Cheese Pataflafla 83) Flam Roll RLRLR R R LRLEL 1 I 34) Cheese Roll ieee eee ee mL ROL Ro oL RF UL oR 35) Flam Five Stroke Roll (flam fives) 36) Flam Accent Five Stroke Roll (fam fivelet) 87) Single Hand Five Stroke Roll (single hand fives) 388) Single Hand Flam Five Stroke Roll (single hend flam fives)HYBRID RUDIMENTS 39) Pataflafla Flam Five Stroke Roll (patty fives) 40) Pataflafla Single Stroke Seven (patty sevens) 41) Reverse Paradiddle-diddle a = The following two examples are not actual rudiments, but are examples of rudimental phrases in common. use in contemporary rudimental literature. 42) Thirty Second Note Roll Combination SS =. SSS]. SSS ee RLERLERUERLRRELRRELERERRELRLELRLLRRLELR RLRERLLRLRRLLRLERRLRERLERLLRLERERREL 43) Shirley Murphy -18-SUPPLEMENTARY RUDIMENTAL TECHNIQUE EXERCISES The following eight exercises are suggested supplemental materials designed to aid in the development of hand skills needed to porform many of the solos contained within. Exercises 1 through 4 deal with multiple hand strokes, accent placements, diddle control, and rhythmic timing; while exercises 5 through 8 introduce some of the most commonly used rudiments into frameworks of actual musical phrases. Each exercise should preferably be practiced at various tempi and dynamic levels, with and without accents, and in isolated sections until mastered. Working often with a metronome or with an electronically produced “click track” is highly suggested in order to build solid time concepts. Taping one’s own practice sessions is also a helpful method of speeding up the developmental process through self-evaluation. And in addition to the following exercises, every rudimental percussionist should constantly work at mastering the ORIGINAL STANDARD 26 AMERICAN DRUM RUDIMENTS and the PERCUSSIVE ARTS SOCIETY INTERNATIONAL DRUM RUDIMENTS listed on the previous pages. Specifics of each individual exercise are listed below, EXERCISE NO.1 This exercise is designed to build consistent multiple strokes in each hand while also developing smooth hand to hand switches. It should be noted that the last two phrases of No. 1 will prove invaluable in preparing for triple stroke rolls and flam taps. EXERCISENO.2 The purpose of No. 2 is to enable the performer to place accents when and where desired while playing a rhythmically consistent pattern. Care should be taken to be sure that unaccented notes are kept low and even, while accented notes are played fairly high. Keep in mind that accent height should always be relative to the overall dynamic level of the exercise. EXERCISENO.3 This exercise is very helpful in developing the execution of individual diddles and various double stroke rolls. Contained within this exercise are 5 stroke rolls, 6 stroke rolls, a 17 stroke roll, 7 stroke rolls, and a long double stroke roll. Effort should be made to execute all diddles at the same height as the regular sixteenth notes and as metrically even as is possible. -19-EXERCISE NO. 4 EXERCISE NO, 5 EXERCISE NO. 6 =XERCISE NO. 7 IXERCISE NO. 8 No. 4 is specifically designed to aid in the development of even hand to hand timing while playing syncopated sixteenth note patterns and in the development of the right hand lead system (e.g. the straight system). The importance of the exercise is evidenced by the majority of rudimental solos and marching percussion arrangements that utilize the RH lead system and are based off of basic sixteenth note rhythms. It should be noted that young percussionists should be cautious about keeping the pulse extremely steady while executing the syncopated sections of this exercise. ‘This exercise will be a valuable tool in developing fluid execution of single, double, and triple paradiddles. It will also prove to be a good introduction to rhythmic phrasings across the bar lines and to mixed meters (hemiola) without actual time signature shifts. No. 5 should definitely be practiced with and without accents. No. 6 is based upon rhythmic combinations of sixteenth note triplets (often referred to as sixtuplets, sextuplets, single sixes, or single stroke sevens) utilizing various stickings such as double strokes, single paradiddle- diddles, inverted paradiddle-diddles, swiss army triplets, and flam accents. It is important that each sticking sounds as identical to the original alternate sticking as is possible and that speed of execution be a central focus. The items contained within No. 6 are often found in marching percussion literature and in rudimental solos. Exercise 7 is designed to build strong and consistent flam accents while incorporating other rudiments as transitional materials. Included with the flam accents is the pataflafla, the flam tap, the 5 stroke roll, the 7 stroke roll, the flam single stroke seven, and the swiss army triplet. Care should be taken to be sure that all flams sound consistently the same whether executed with the right or left hands. This final exercise is geared to preparing the percussionist to execute double stroked grace notes (drags) in conjunction with the various rudi- ments associated with them. Contained in No. 8 are single drag taps, half drags, double drag taps, compound strokes (lesson no. 25), single ratamacues, double ratamacues, triple ratamacues, drag paradiddles #1, and drag paradiddles #2. Keep in mind that the grace notes should be kept exceptionally low and tight, much the same as when executing flams. Again, as with some of the other exercises, No. 8 should be prac- ticed with and without accents.| | EXERCISE NO. 1 + eo eee ree tLe eee bt bo Eee eee LoLieteenet ee — ROR ER | en EL = = 2 = ry = RoR oR EF RR Hey See ob Er EEE 2 ROR bow EXERCISE NO. 2 ew ms on on ow ow os ve ue ow va ow en oR on { RERE L -21-EXERCISE NO. 3\EXERCISE NO. 4 RL RL RLR RLRE RLR RLR ee a aaa ea DRLERLOGRLRERRLRER LURURLRRUERERUEREL | 23.EXERCISE NO. 6 eet re aa eee Re a ee 3a ae as ra aa mee aa eet ea ae fea ee EXERCISE NO. 7 R RLRELRLREERELRERLERLE R RR LL RLRELRL R RLRL R RRL ERL -24-[EXERCISE NO. 8 ER L EL R Lok L R RRL R L TuR Leab R vtR Lael R tiReebtrRank opRaeb otk arb LiRLGR Lerbask RetRe.R L mR OL OR RRL ROL Luk L Rawal R L vieR Lb Rael RL tuk LR L eel RL R ‘eR LOR L eeb Ro LR teR tuR LE R L web eal R LR uiRutR uik LOR LL Reb Rab oxeb RL R RuiR L RR Lee RL L Ruckick L RR Laabenb R LL R -25-LEGEND The following symbols are uséd to designate various alternate notes that appear in the 25 solos. The first instance of each event in each solo is also labeled as a reminder. = rim shot = back stick = play on rim of drum = fake stroke in air = multiple bounce roll = short multiple bounce roll (in Solo No. 17 this symbol designates a crushed buzz- leaving designated stick(s) on the playing surface) = stick click LFA RFA = play on indicated forearm with opposite stick (Solo No. 21) =>-—— = simultaneous strokes with both hands = double stop back stick, Solo No. 23 (the letter bracketed is the TR) hand to be back sticked) ol wo -26-HOT LICKS Solo No. 1 . Level - Easy by Edward Freytag RLRROL L bDoL ERLE R&R R RR R RLR RL RoR LOR OL RLR RL RLRERL B® LRL oR RLRLRLERL RLRELRLRL RLERLRLRL RLRER LF RL P L Rudiments Contained: single paradiddle flam triple paradiddle double strokes single stroke roll -27-ACCENTUATE Solo No. 2 by Edward Freytag Level - Easy RR LL RLELRLRL & RLRDLDER RL 1 RLRERELRLL RLERLRELRL & L RL RoR OL L Rudiments Contained: 5 stroke roll flam tap 9 stroke roll flam 17 stroke roll flam accent single paradiddle double paradiddle -28-5+2=7 ' by Edward Freytag Solo No. 3 Level - Easy = | R LRLRL R LALRL R RRRERL R&R LRLURL RLRRLRLLR R ORDR L ROR Lb RRLLR R L LR R LERRL L | RRLUR R LERRL L RRLLERRLER RL L R LERRELR LER R aaeeA TURRLURRL LLL R LLRRL R LERRL RRLLRRLURERLR R URDRL R LRLRL RL R R LRURL RLRLRLR L R (rim shots) Rudiments Containes 9 stroke roll 17 stroke roll double strokes flam single paradiddle single stroke sevenSTRAIGHT SIX EIGHT Solo No. 4 Level - Easy by Edward Freytag RR DE RR LL & RRR RRLE R = oft Rudiments Contained: flam accent double strokes i flam tap single paradiddle double paradiddle 5 stroke roll -30-ADD A POP Solo No.5 Level - Easy by Edward Freytag Rudiments Contained: flam 17 stroke roll 9 stroke roll single paradiddle | flam tap 7 stroke roll 5 stroke roll swiss triplet -31-wuxes ‘SINGLE STROKIN' Level - Easy by Edward Freytag my = = ~ = = = ROR RR RL RL RLR RL RERLRE R RERL RERL RLRLRERE is 8S nf (rim shot) 6 6 = 3 6 6 2 a RLERLRLR RURLRLRLE L RLEL RL RURERLR L RLRLRLR RLRURER = 3 3 6 fe] = > 35 ER RLRL RL RURL R LL LL RURLRLR R L R DRL ROER UL RL RL RERERLR RUERURERERE LR Rj Rudiments Contained: flam accent flam flam tap single stroke seven 17 stroke roll single stroke four single paradiddle 5 stroke roll flam paradiddle 9 stroke roll pataflafla triple paradiddle 7 stroke roll -82-PARA FLAMS Solo No.7 a by Edward Freytag Level - Easy iH RLRLRRL&R FR LE RERER z RR Serres cet = trimsio Am > 7 7 ome! === SS Sada LR RRL LRLR RLRRLRLLERL LRER Rudiments Contained: flam paradiddle double paradiddle 7 stroke roll flam triple paradiddle 9 stroke roll flam i single paradiddle-diddle 5 stroke roll pataflafla | flam paradiddle-diddle 17 stroke roll 13 stroke roll single paradiddle single stroke four -33-CRAZY EIGHTS by Edward Freytag Solo No. 8 Level - Easy ROLR RL H “ LRLERLR GEOR. E a =, Ss | === 1 Fa ee Sa oe Ea R PLR R LR LRLL RL RRL RELL R RLRL RL (rim shoo RRELR RL RRLULRRL RL2s Crazy Eights, pg.2 RRLLRRLE RRL RRELLERRELRRELL RL RLRDRDRER RRLLRRLLR RURRERLLR Rudiments Contained: double paradiddle 7 stroke roll flam 9 stroke roll single paradiddle 11 stroke roll flam accent 18 stroke roll single drag tap drag 5 stroke roll -35- RO OLRDIDDLES-R-US Solo No. 9 . 2 Level - Easy by Edward Freytag | R RRL R RL R R RL L RLRLRLRE RB ROR ROL RLR RULR RLRLRL L R LRDiddles-R-Us, pg. 2 RLDRRLRELD RERLRERR LRE LRLRAR DRLRLEREL (rim shoe) ‘A R oft Rudiments Contained: 9 stroke roll 7 stroke roll single stroke seven _ single paradiddle 5 stroke roll 6 stroke roll 17 stroke roll flam tap flam flam accent single stroke four triple paradiddle 13 stroke roll -37-SEVEN AND SIX Solo No. 10 i Level - Medium by Edward Freytag | Jeno . al > 6 > > = > > 6 = > = 6 RLRLRLRL L RL LRLRLRE RL LERLERLERE (rimstots | RL ROLL R RLRELRLR Robb ORL OL |