Rudiments and the 4 basic strokes

Mortlock

Junior Member
I've been reading up on the 4 basic strokes (full, down, tap, up) and I'm just wondering how to practice them with the rudiments, and how they apply to them. Are the full strokes for accents, and do the regular strokes (no accents) need to be taps?
 
Which stroke to use depends on what kind of note occurs before and after the note in question, on the same hand.

For example, during a paradiddle, the right hand plays an accent, then two non-accents, then another non-accent. So, you would play a downstroke, then two taps, then an upstroke (to prepare for the accent that begins the next paradiddle).

The left hand plays the same order of events, but begins with the upstroke (upstroke, downstroke, tap, tap).
 
I don't believe in the whole "4 types of strokes" thing. What if you have a medium-sized stroke that falls between "full" and "tap"?!?!?!? Also, a tap stroke should be exactly the same motion as a full stroke, just starting from a lower height.

I teach my rudimental students about the 3 kinds of strokes; upstroke, downstroke, and stroke. I teach them to practice all of them on their own, like alternating upstrokes and downstrokes with one hand, because it's that kind of repetitive practice that will get their limbs to do what they want when they want without having to think about it. If they want to break down the rudiments into upstrokes/downstrokes/strokes, they are more than welcome to, but I don't require/enforce it. Most students can figure out on their own whether they need to do that or not...
 
I
I teach my rudimental students about the 3 kinds of strokes; upstroke, downstroke, and stroke. I teach them to practice all of them on their own, like alternating upstrokes and downstrokes with one hand, because it's that kind of repetitive practice that will get their limbs to do what they want when they want without having to think about it.

If I practice just flams (alternating hands), will it give me enough coverage of upstroke/downstroke motions?
 
You're correct that hand to hand flams are just downstroke/upstroke combos. And your single stroke roll will be all taps when played low and all full (or free) strokes when played high. The rudiment will always determine the stroke types needed based on what stroke comes next for a either hand.

As for the full stroke vs tap issue, I agree this isn't very clear. I look at it this way: taps are low enough where the butt end of the stick can touch your palm (but please don't squeeze it there while playing taps), and full (or free) strokes are high enough where the butt end of the stick does not touch the palm but rebounds freely.

I call the palm the "brakes" -unless you're playing low continuous tap strokes or are intentionally stopping the stick, stay off the brakes.
 
So, for singles, no accents, it would all be taps? Correct me if I'm wrong.

In this particular context, yes. And for all accents, it would be all full (free) strokes.

If on a page of notation you see singles with no accents, the author will either designate a stick height, or use dynamic symbol (piano, mezzo forte, fortissimo, etc.), or both.

Caddywampus -- If a student were only to practice the different strokes one hand at a time, he will find it very difficult to play combinations of the strokes with both hands, because the INTERDEPENDENCE of the two hands has been neglected. Furthermore, the 3rd "stroke" you mention: where is it's height? Is it up to the student to decide?

Try this: play groups of 4 notes -- accent, accent, non-accent, non-accent, and so on. Left to only 3 strokes, you will not be able to accomplish this pattern as quickly, or as dynamically, as you would with 4 distinct strokes.

The 4 types of strokes are a learning tool, to get the student thinking about not just how to hit the drum, but to control where the stick goes before and after each hit. They are not meant to be an absolute, all-or-nothing guide to technique. There are many refinements to be achieved in between these strokes, and you will encounter them as you attempt to play various rudiments and pieces, at various tempos and dynamic levels. The 4 stroke approach leads to maximum dynamic range and maximum control, and therefore, to maximum expression.
 
I've been reading up on the 4 basic strokes (full, down, tap, up) and I'm just wondering how to practice them with the rudiments, and how they apply to them. Are the full strokes for accents, and do the regular strokes (no accents) need to be taps?

Do you have a teacher? If not, I recommend you find a good teacher. There are all kinds of strokes. Whether a single stroke roll is played loud or soft depends on the dynamic you are going for. Any note can be accented or not.

Books I recommend for accent control are those written by Morello and Accents and rebounds by Stone. There's plenty more but they are a good start.
 
You're correct that hand to hand flams are just downstroke/upstroke combos. And your single stroke roll will be all taps when played low and all full (or free) strokes when played high. The rudiment will always determine the stroke types needed based on what stroke comes next for a either hand.

As for the full stroke vs tap issue, I agree this isn't very clear. I look at it this way: taps are low enough where the butt end of the stick can touch your palm (but please don't squeeze it there while playing taps), and full (or free) strokes are high enough where the butt end of the stick does not touch the palm but rebounds freely.

I call the palm the "brakes" -unless you're playing low continuous tap strokes or are intentionally stopping the stick, stay off the brakes.

so does the taps hit in your palm while you play them or the stick stays there and you just move your wrist (or you use fingers for taps)??

isn't the pinky finger break?? how pinky and palm are related?

thanx bill
 
Last edited:
Go out and buy Buddy Rich's Modern Interpretation Of Snare Drum Rudiments. The strokes are signified by arrows. It explains how to use them. The famous Henry Adler helped write it. The ultimate book for learning the rudiments correctly.
 
I don't believe in the whole "4 types of strokes" thing. What if you have a medium-sized stroke that falls between "full" and "tap"?!?!?!? Also, a tap stroke should be exactly the same motion as a full stroke, just starting from a lower height.

It's highly unlikely that the micro control involved in sounding out a 'medium stroke' that lies between the tap and full would ever be necessary. A wider dynamic control can be exercised over the 4 stroke system as a whole, ie, play an exercise involving the 4 strokes at all dynamic markings, and work to move fluidly between them.

The tap and full strokes are, or should be, two completely different beasts. Given that the tap stroke should be softer than the full stroke it necessarily must involve a different amount of control and therefore a different technique.

It's a very elegant system in that it covers every practical accent permutation. It's daunting to switch to at first if you've played for years without it, but it takes a suprisingly small amount of work to get it completely assimilated into one's playing. Well worth it IMO.
 
I don't believe in the whole "4 types of strokes" thing. What if you have a medium-sized stroke that falls between "full" and "tap"?!?!?!? Also, a tap stroke should be exactly the same motion as a full stroke, just starting from a lower height.

I hope it doesn't seem like we're all trying to bombard you here, because you do bring up a good point, but I believe there are reasons for the taps/full strokes being considered different. The way I see it, these are designated simply to help practice control over these specific dynamics (very soft taps and very loud full strokes) because the way the hand moves to produce these notes is very different (the hand can barely move for a quiet tap). However, it's not to say that just because you practice a full stroke at the highest stick height possible doesn't mean you can't apply the same principles to a stroke that is not that high. You can apply the same technique to a "medium" stroke. However, I can see why the distinction seems gratuitous-- taps and full strokes both follow the same principle that they prepare the hand so that the next stroke will be the same volume as the one just played.
 
Back
Top