THE DRUMMING DICTIONARY.

Ruff

This is a stroke predessed by three ghost notes. (according to Guildhall School of Music and Drama) e.g 3 semiquavered ghost notes (not part of the beat; decoration if you will) followed by a prominet stroke.

Drag

Same as above except with two strokes predesesing the prominet stroke (according to Guildhall School of Music and Drama)
 
ChazH said:
Ruff

This is a stroke predessed by three ghost notes. (according to Guildhall School of Music and Drama) e.g 3 semiquavered ghost notes (not part of the beat; decoration if you will) followed by a prominet stroke.

Drag

Same as above except with two strokes predesesing the prominet stroke (according to Guildhall School of Music and Drama)
Click to expand...

Isn't it like this?

Flam- One grace note before the prominent stroke.

Drag- Two grace notes before the prominent stroke.
 
could someone tell me what triggers are? I have a general idea but would love clarification.
 
TRIGGERS
are velocity sensitive peizo electric switches. the harder they are hit the higher the voltage the send back to a computer (module) which then converts the information into a sound and a volume. some triggers are purpose built pads while others are designed to be connected to an accoustic drum so that the two sounds are mixed when the drum is struck.
p15282b-67d8bdcd0a09b55226c8daa74986dbba.jpg

16529.jpg

rim-triggers.jpg
 
You can also build your own triggers with parts from RadioShack...Total cost less than ten dollars a trigger. Of course you still need a module to connect the triggers to...but they work, I've used them. I made a thread explaining how...(I'd put the link here, but I don't know how)
 
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thanks for that explanation! Now here another....Crosstick
 
NUTHA JASON said:
crosstick
sometimes mistakingly called rimshots (particularly by guitarists).
played with the hand resting on the snare thusly:
Click to expand...
That's why I asked... I was confused crosstick vs. rimshot. Great thread!
 
NUTHA JASON said:
Double Time and Half time
are what they say they are.
Click to expand...

I think what you're defining are double time feel and half time feel. It's a subtle difference, and one that only applies if you're reading music or having a technical discussion about it.

If you're reading a chart and playing at quarter note = 120, and then you start playing at twice that speed (240) even thought the written material still says 120, then you're playing a double time feel. If a similar piece of music actually notates the change to 240, then you're playing real double time.

It's a minor point that probably means just about squat to anybody who plays by ear or writes his own charts. But if, for instance, you're on a reading gig and the chart says "double time feel," you'll still count the same tempo while playing twice the speed. The point being that if you went into actual double time, the bars would go by twice as fast, and you'd be on your second beer by the time the rest of the band finishes. (Come to think of it, that might not be such a bad thing!)
 
as requested by a member here are some common drumming adjectives:

Bright - Sounds that are high-pitched; they offer increased cut.

Dark - Low-pitched, warm tones that combine for a 'dark' response that blends into surrounding music.

Attack - The response rate of the cymbal or drum. Some models are faster (more attack) than others. how fast an instrument reaches its peak volume after it is struck.

Fast - rate of response when the cymbal is struck: how fast or slow it makes a sound and how that sound decays. A smaller or thinner cymbal responds and decays faster than larger, heavier models.

Dry - A minimum of tone ensures a very definite stroke response or stick response.

Sustain - The duration of the sound before it decays. Bigger cymbals sustain longer than smaller models.

Timbre - The general sound characteristics of a cymbal. its voice.

Trashy - Raw and dirty responses associated with Chinese cymbals and some special models. The trashiness of an 18" B8 Pro Chinese is raw, funky and Oriental.

Warm - A softer response that focuses on a blend of low-pitched, musical tones.



these terms are lifted and slightly modified from http://sabian.com/english/education/Edu_Cymbals.cfm?RI=4

i will add to them later so watch this space.

j
 
A paradiddle is a rudiment that combines single and double strokes in such a way that alows drummers to make more interesting patterns, free up a hand so that it can move somewhere else on the drums and of course makes for a lovley variety of beats particularly in the funk genre.

here are the major paradiddles and their most common names then:

paradiddle
RLRR LRLL

double paradiddle
RLRLRR LRLRLL

triple paradiddle
RLRL RLRR LRLR LRLL

paradiddlediddle
RLRRLL or LRLLRR

paradiddlediddlediddle
RLRR LLRR LRLL RRLL

inverted paradiddle
RRLR LLRL

permutated paradiddle
RLLR LRRL

double inverted paradiddle
RLRRLR LRLLRL

double permutated paradiddle
RLRLLR LRLRRL

triple inverted paradiddle
RLRLRRLR LRLRLLRL

triple permutated paradiddle
RLRLRLLR LRLRLRRL


J
 
Ostinato?

Been reading the forums a lot - see it referred to but need a little help on the tech description.

Thanks all.
 
Some more on rimshots.

PING SHOT
A rimshot played in such a way that only the top few inches of the stick strike the drum. When played correctly it produces a 'ping' sound.

GOCK SHOT
A rimshot played so that the stick strikes the rim at nearly the half way point or even a little further down. When played correctly this rimshot produces a very loud and full shot that resembles the word 'gock.'

NOTE: Both should be played like a rimshot in that they both should strike the head and rim simultaneously.
 
OSTINATO - a repeating pattern carried in one or more limbs while other limbs play parts across the pattern. The most simple ostinato you're likely to hear is the 8th note hi-hat line, which is kept consistent while the snare drum and bass drum plays around it. However, this generally isn't what people talk about when they refer to an ostinato in drumming - these are usually longer phrases of two or more beats, often played with the feet and sometimes including multiple sound sources. A typical ostinato-based approach to playing is the samba, which often keeps a particular bass drum / hi-hat pattern going while the hands phrase freely over the top.

Terry Bozzio was a notable innovator in this field, he was one of the first to develop foot-ostinato based soloing to an extremely high level - although he was not the first to record solos featuring ostinatos. Today this approach is popular with drummers like Thomas Lang, Virgil Donati, Grant Collins, Marco Minneman and Benny Greb.
 
What about a Dotted eigth note, In my book it says "a dot placed after or before a note increases its value by one half the value of the original note" WHA? If it's an eighth note then I hit the drum once so what am I supposed to be doing for a dotted note thats different from that? Please feel free to use Lament terms. Thanks guys I am new so excuse me if this is numb question I cant find an answer anywhere.
 
DOTTED NOTES
lets look at quarter notes in 4/4 timing for this. 4/4 timing means we're allowed 4 quarter notes to a bar OR 2 half notes OR 1 whole note. now since a half note is the same length as two quarters then a dotted half note is i set of 2 quarters plus a half a set of two so its equal to three quarters. if you have a dotted half note in the bar you must have either a quarter note or a quarternote rest (or 2 eighth note) to complete the mathematics of the bar. once you understand this in 4/4 with halves and quarters then eights and sixteenths become more clear.
See
PG14.gif

but tied together. in terms or drumming...hit the thing and wait a little longer before you hit it again (for how long you have to wait see the description above . lol)
have a look at this and see if it makes it clearer (note the time signature)
dotted.gif

Pic.2
dotted2.gif
 
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