His approach really needs to be seen in its entirety. Concerning rudiments, he uses a "freeze-frame" or "snapshot" approach where you practice the correct hand positions in sequence that make up the rudiment. The transition between the hand positions is done with a snappy motion. This allows you to practice the transition in "real-time", while pausing for however long to study and refine the hand position, muscle usage, and resolve unnecessary muscle tension. You end up practicing the mechanics AND developing speed at the same time: Extremely efficient....His former students read like a "Who's Who" of drummers and include such names as Buddy Rich, Louie Bellson, Roy Burns, Dave Tough, Sonny Igoe, Alvin Stoller, Phil Kraus and countless others....
put on a met and play them paying close attention to control and consistency
put them through a grid
run them through the table of time
What is a grid? What do you mean "the table of time"?
The best method to approach rudiments that I've encountered was taught on a VHS video by Henry Adler (Hand Development Technique). I don't know if this is even still available, but if you can find it, get it. Sell all of your flashy, hip drum videos to get this one video if you have to. Seriously.
Who is Henry Adler? On the back of the VHS case it reads:
His approach really needs to be seen in its entirety. Concerning rudiments, he uses a "freeze-frame" or "snapshot" approach where you practice the correct hand positions in sequence that make up the rudiment. The transition between the hand positions is done with a snappy motion. This allows you to practice the transition in "real-time", while pausing for however long to study and refine the hand position, muscle usage, and resolve unnecessary muscle tension. You end up practicing the mechanics AND developing speed at the same time: Extremely efficient.
The focus is to develop great efficiency and control of where the sticks need to be throughout the playing of the rudiment. It is the only way that's ever made sense to me for practicing rudiments. Practicing any rudiments outside of the few most common ones always seemed a bit silly because a lot of them just aren't practical for most drumming scenarios (anyone banging out Flamacues these days?). However, it all comes alive when you use Henry Adler's approach to studying them. Maybe those Flamacues aren't so bad after all...
You learn that the real purpose of practicing the rudiments is to develop an understanding of the mechanics of drumming. You learn exactly where your hands need to be, no wasted motions.
If you haven't guessed, I can't recommend this video enough. It is a diamond in the rough. EVERY drummer should own it. It's the Stick Control of drum videos.
If there's a better training source, I would love to hear about it.
a grid is playing every possible accent permutation
and this is the table of time
I've been practicing grids and the table of time for 2 weeks now with the single paradiddle. My hand control has improved and my paradiddles are much more effortless. I gained 10-20 BPM of speed as well. However I skip the 5 and 7 in the table of time, seems a bit too advanced for me right now.
I also found a cool challenging exercise, play the single paradiddle as triplets and play every third note with a foot together with the hand that's playing at the time. Really hard to get them together without flams between the hand and foot.
I also accent every third note with a foot but I play RLRR LRLL with the feet. Really cool exercise. Helps to synchronize the hands and feet.
thats great news brother ....keep up the good work
a couple more ideas for you
mix up the accent patterns .....for example....one I love doing it this
paradiddle diddle ....2 in a row changing the accent placement
capitals represent accents
R l r r l l r L r r l l
flows really nicely around the kit as well
also ... rudiments are much more useful when connected and will help you creatively reach your destination points around the kit
to me all of these stickings are just avenues to our destination
try things like
9 stroke roll paradiddle 5 stroke roll double paradiddle
but tie the 9 and 5 to the diddle rudiments that follow .....meaning the last beat of the 9 or 5 which would be the accent would also be the first note of the diddle rudiment
like this
rrllrrllR l r r llrrL r L r l l
the possibilities are endless
there is a great book by Pat Petrillo that explores these options in depth
I practiced rudiments mainly on practice pad. Now I realise it was a big mistake. Practice pad is too forgiving to variation in dynamics. My dynamics is inconsistent.
So, I need to practice more on real snare drum. But a constant stream of 16th's on the snare is really loud. It kills my ears. I'm thinking of wearing ear muffles. But that means my ears will not be used to the actual snare sound and dynamics. Catch 22....
Do you guys wear ear muffles, particularly when practicing rudiments on snare drum?
I hope it's not a too silly question to ask.
I practiced rudiments mainly on practice pad. Now I realise it was a big mistake. Practice pad is too forgiving to variation in dynamics. My dynamics is inconsistent.
But a constant stream of 16th's on the snare is really loud. It kills my ears.
Do you guys wear ear muffles, particularly when practicing rudiments on snare drum?