My teacher had me focus on one half of a page per week.
Goal was to do them all at the same tempo. So just set the metronome to whereever you are comfortable and gradually raise the tempo.
The rigid thing about 20 times each is a little silly. I'm a drummer. I can't count that high.
Welcome to Drummerworld. I see you're new here, but please use the search function to keep things uncluttered. There is a thread already created with 296 posts on the subject.
http://drummerworld.com/forums/showthread.php?t=17751&highlight=stick+conrol
Stone did write "20 times" for a reason. Endurance is a key element as is control.
Stone did write "20 times" for a reason. Endurance is a key element as is control.
I don't know exactly why you singled me out, Jeff. I didn't create the thread; I simply responded to it.
I don't focus on the number of times I do the rudiments. I do them until they sound pretty. It could be 2, 20 or 200. I just do it until it sounds tight and I don't have to think about it.
How do people use it? how do teachers recommend using it? Stone says do each exercise 20 times and move on. But at what speeds should you be proficient before moving on?
My teacher had me focus on one half of a page per week.
Goal was to do them all at the same tempo. So just set the metronome to whereever you are comfortable and gradually raise the tempo.
The rigid thing about 20 times each is a little silly. I'm a drummer. I can't count that high.
When I got to the flam beats section...120 is not within my level! So i pegged it back to 80bpm. Again i concentrated on control and even strokes. I also tried to make my flams 'look good'. By this I mean that the dominant note (right in a right flam etc) comes up higher than the ghost/low note.
Resurrecting an old thread. Dave, you're on the right track here. One student of Stone's I know says, "Stone always demonstrated the Flam & Drags alternately, and sidewyas using 18" and 2" heights." (emphasis mine) Ray also says to remember that the heights are "serving suggestions", and not meant to be adhered to 100% strictly. However, what he's getting at - as I understand it - is that the Flam Beats should be played paying close attention to stick heights (Lifts and Levels, Stone used to call it). The other thing is that with Flams, the stick height helps you play the rudiment. If two trains head to the same station at the same speed from different distances....well, you get the point. So if you can get both hands to play reasonably together, a little stick height action will give you your Flam sound.
BTW, I always practice everything in Stick Controll and Accents & rebounds with 3 different heights, but I have been thinking, what about flams? You can of course have the main note on whatever height you want but could you play the grace (?) note from different height also? For example grace note at half stroke height and main stroke at full stroke height. Of course if it doesn't sound good you wouldn't have to use it when you actually play but this is purely from control practice point of view. So any use for that or is it just a waste of time?
Of course you can. Ray Reilly always had me do the grace notes from a low height - as indicated by the way they're written. Stylistically, the concept was to have them add colour and/or breadth to the primary note, not to be points of emphasis in and of themselves.
This is all topical for me because I received a brand-spanking new copy of Stick Control for Christmas to replace my old, dog-eared, cover-missing, staples-falling-out one. Anyway, prompted by this great gift, I started working through the book again, and decided to start with the Flam Beats section. For me, right now, I'm trying to work on my relaxation and low volume control, so I'm doing them with the grace notes about 1" off the drum and the primary notes 3" most of the time. The key is to apply the stuff to your needs.
You guys are inspiring me to start going through that book again after 30 years.
It's a gift that just keeps on giving. I received a new copy for Xmas to replace my 25-year old one that was being held together by luck and prayer for the past couple of years.
That lead me to dive in deep again, and I have to say that the more I work with it, the more I reinforce my opinion that there are too many drum books on the market. With a little creativity it'll do the job of half of them, and all for just a few bucks...