Rudiment Control 2015

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RUDIMENT CONTROL
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Rudiment Combinations

&
Rhythmic Variations

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Matthew Lemieux
www.fatmattdrums.com
Summer 2015 Edition

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Rudiment Control 2015 www.fatmattdrums.com
Welcome!
This collection of exercises is based on two main ideas: that certain pairs of rudiments can be thought of as
rhythmic corruptions of the same stroke combinations, and that rudiments should be rehearsed with different
rhythmic speeds and interpretations in order to develop better control of the sticks and a stronger rudimental
vocabulary. Rather than merely build chops, this packet should give the performer a greater command over the
space between notes, ensuring confidence in rhythmic accuracy over a range of musical and rudimental contexts.
This packet is divided into three main sections:
I. "Juxtapositions"
These exercises juxtapose rudiments with different rhythmic interpretations of themselves, as

well as with other rudiments that consist of the same sequence of strokes.
II. "Modulations"
This section introduces some basic accent patterns into which different rudiments can be fit.
The goal here is to juxtapose different rhythmic speeds of the rudiments.
III. "Off-Hand Control"
These exercises juxtapose rudiments that consist of the same lead-hand breakdown as each
other. The performer is challenged to play a relatively constant pattern on one hand while
varying the demands of the other hand.
I hope that you will find this packet beneficial to your growth as a rudimental drummer, and I encourage you to
share this collection with your peers. Questions, feedback, and suggestions for improving this packet should
be directed to fatmattdrums@icloud.com
Cheers!
Matthew Lemieux
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Changes in this edition:
Since the 2014 edition, the most notable changes are in the organization of the packet. The
"Paradiddle Rudiments" category has been eliminated, and these patterns were either moved to
the Rolls and Drags subsection, or the Paradiddle and Drag Rudiments subsection (formerly
"Drag Rudiments"). This was done to separate the paradiddle-with-roll juxtapositionswhich are
more useful and belong earlier in the packetfrom the paradiddle-with-drag-pattern
juxtapositionswhich are a little more out-there, belonging later in the packet.
The Rolls and Drags subsection has been re-ordered to make a lot more sense. There's now a
more logical flow to it: short doublestroke patterns, downbeat drag patterns, tap-drag patterns
(plus a couple third-partial drag patterns, new to this packet), tap-fives, longer doublestroke
rolls, and finally single stroke patterns. The Flam Rudiments and Hybrids subsection has been
similarly cleaned up. Several patterns have been added, and some have had the rudiments
reversed, in order to fit the overall flow of each subsection.
A Modulations in 2 subsection has been added. I thought this was a nifty pattern, and it fit nicely
into the overall scheme of the Modulations section. There are many more possible accent
patterns to fit rudiment modulations into. In the future, I hope to assemble a repertoire of such
patterns on fatmattdrums.com for inclusion in the next edition of this packet. The material here
already establishes how to fit different rudiments into a given accent pattern, so additional
modulation patterns could easily be included without having to notate all of the extra example
exercises. If you have ideas for fun metric modulation patterns, I would love to hear about them.
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Table of Contents
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I. Juxtapositions
Rolls and Drags
Four-Stroke Rolls :: Open Roll
(Duple) Lead-Hand Drags :: Slurred Lead-Hand Drags
5
(Duple) Off-Hand Drags :: Slurred Ruffs
(Triplet) Lead-Hand Drags :: (Triplet) Slurred Lead-Hand Drags

(Triplet) Off-Hand Drags :: (Triplet) Slurred Ruffs
6
Downbeat Drags :: Same Diddle, Different Release
Downbeat Drags :: Downbeat Slurred Drags
7
Downbeat Drags :: Downbeat Tight Drags
Downbeat Drags :: Mills
Tap Drags :: Same Diddle, Different Initiation 1

Tap Drags :: Same Diddle, Different Initiation 2
8
Tap Drags :: Slurred Tap Drags
Tap Drags :: Tight Tap Drags
Tap Drags :: Tap-Ruffs

Tap Drags :: Inverted Paradiddles
9
Third-Partial Drags :: Up-Beat Slurred Ruffs
Third-Partial Drags :: Paradiddles
Tap-Fives :: Inverted Five-Stroke Rolls

Tap-Fives :: Slurred Tap-Fives 10
Tap-Fives :: Tight Tap-Fives
Tap-Fives :: Tap-Drag-Diddles
Tap-Fives :: Tap-Diddle-Drags
Tap-Fives :: Para-Flam-Taps
11
Five-Stroke Rolls :: Slurred Five-Stroke Rolls
Five-Stroke Rolls :: Tight Five-Stroke Rolls
Five-Stroke Pickups :: Paradiddle diddles

Cloned Six-Stroke Rolls :: Doublestop Huckadigs
12
Modified Six-Stroke Rolls :: 2-Accent Paradiddle diddles
Six-Stroke Rolls :: Slurred Six-Stroke Rolls
Six-Stroke Rolls :: Stressed Six-Stroke Rolls

Tap-Sevens :: Slurred Tap-Sevens 13
Tap-Sevens :: Upbeat Sevens
Tap-Nines :: Slurred Tap-Nines
Hertas :: Slurred Hertas

Hertas :: Single-Stroke Fours 14
Single-Stroke Fours :: Single-Stroke Roll
Singles :: Single-Backs
Single-Backs :: Inverted Single-Backs

Singles :: Single-Stroke Ruffs 15
Cloned Singlestrokes :: Cloned Doublestrokes
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(Table of Contents)
Flam Rudiments and Hybrids

Flams :: Swung 16th Notes
Flam Accents :: Flat Flam Accents
16
Flam Accents :: Modified Hertas
Flam Accents :: Shifted Paradiddles
Flam Drags :: Slurred Flam Drags

Flam Drags :: Inverted Flam Paradiddles
17
Flam Drags :: Tight Flam Drags
Flam Drags :: Modified Paradiddles
Cheeses :: Slurred Cheeses

Cheeses :: Flammed Mills
18
Cheeses :: Tight Cheeses
Cheeses :: Bad Cheeses
Flam Fives :: Slurred Flam Fives

Flam Fives :: Tight Flam Fives
19
Flam Fives :: Bad Flam Fives
Flam Taps :: Triplestroke Rolls

Inverted Flam Taps :: Triplet Accents
20
Pataflaflas :: Modified Paradiddle diddles
Swiss Army Triplets :: R.H.-Heavy Doubles
Swiss Army Triplets :: Same-Hand Cheeses 21

Inverted Swiss Army Triplets :: Cheese Inverts
Swiss w/ Kick :: Flams
Swiss w/ Flam Kick :: Eggbeaters
Para Flam-Taps :: Slurred Tap-Fives 22

Flam Paradiddles :: Not Shirley Murphies
Paradiddle and Drag Rudiments

Paradiddle diddles :: Fivelet Drag Thing
Paradiddle diddles :: Fivelet Ruff Thing (1)
23
Double Paradiddles :: Herta Thing 1
Double Paradiddles :: Herta Thing 2
Double Paradiddles :: Fivelet Herta Thing 24

Double Paradiddles :: Fivelet Ruff Thing (2)
Double Paradiddles :: Modified Ratamacues
Modified Double Paradiddles :: Ratamacues
Double Ratamacues :: Slurred Double Ratamacues

Ruffs :: Triplestroke Rolls
25
Fivelet Ratamacues :: Inverted Double Paradiddles
Drag Paraddidles :: Slurred Drag Paradiddles

26
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(Table of Contents)
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II. Modulations
Modulations in 2 :: 27
______________________ III. O-Hand Control ______________________
Flam Accents :: Para Flam-Tap Flam-Taps 40

Swiss Army Triplets :: Off-Hand Swiss w/Kick
Swiss Army Triplets :: Hertas
Swiss Army Triplets :: Four-Stroke Rolls 41

Swung Flam Taps :: 2-Accent Paradiddle diddles
Pataflaflas :: Inverted Flam Taps
Pataflaflas :: Single-Stroke Fives (Pickup)
Flam-Taps :: 2-Accent Single-Stroke Fives 42

Tap-Fives :: Ruffs
Double Paradiddles :: Tap Flam-Fives
Lesson 25 :: Slurred Ruffs
Modified Pataflaflas :: Accented Single-Stroke Fives
Up first... Juxtapositions
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I. Juxtapositions
These exercises juxtapose rudiments with different rhythmic interpretations of themselves, as well as with other
rudiments that consist of the same sequence of strokes. The exercises are all of the same simple construction,
and while some of the combinations might seem very left-fieldincluded for the more adventurous among
rudimental drummersa great many of them should prove beneficial to drummers of all playing levels. The
collection is by no means exhaustive, and if you think of juxtapositions that are not included in this packet, I
would love to hear about them.
For thorough practice:

The exercises with accents should also be performed with all notes at a single height.
The exercises that are not doublestop-based should additionally be performed "off the left,"
whether or not the rudiments switch hands.
The order of the juxtaposed rudiments can be reversed.
Variations of the same rudiment can be mixed with each other: for example, Slurred Tap-Fives can
be juxtaposed with Tight Tap-Fives without including the base rudiment.
Rolls and Drags
Four-Stroke Rolls : : Open Roll
44
3 3 3 3 3 3
r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l
3 3

r r l l r r l l r r l l r r l l r
(Duple) Lead-Hand Drags : : Slurred Lead-Hand Drags
44 ! ! ! ! ! ! ! !
3 3 3 3 3 3 3 3

rr l rr l rr l rr l r r l r r l r r l r r l rr l rr l r r l r r l rr l r r l rr l r r l r
(Duple) Off-Hand Drags : : Slurred Ruffs
44 ! ! ! ! ! ! ! !
3 3 3 3 3 3 3 3

r ll r ll r ll r ll r l l r l l r l l r l l r ll r ll r l l r l l r ll r l l r ll r l l r
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20122015 Matthew Lemieux
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(Rolls and Drags)
(Triplet) Lead-Hand Drags : : Slurred Lead-Hand Drags
44 ! ! ! ! ! ! ! ! ! ! ! !
6 6 6 6
rr l rr l rr l rr l rr l rr l rr l rr l rr l rr l rr l rr l
9 9 9 9

r r l r r l r r l r r l r r l r r l r r l r r l r r l r r l r r l r r l
! ! ! ! ! !
9 9
6 6

rr l rr l rr l rr l rr l rr l r r l r r l r r l r r l r r l r r l
! ! ! ! ! !
9 9
6 6

rr l rr l rr l r r l r r l r r l rr l rr l rr l r r l r r l r r l r
(Triplet) Off-Hand Drags : : Slurred Ruffs
44 ! ! ! ! ! ! ! ! ! ! ! !
6 6 6 6
r ll r ll r ll r ll r ll r ll r ll r ll r ll r ll r ll r ll
9 9 9 9

r l l r l l r l l r l l r l l r l l r l l r l l r l l r l l r l l r l l
! ! ! ! ! !
9 9
6 6

r ll r ll r ll r ll r ll r ll r l l r l l r l l r l l r l l r l l
! ! ! ! ! !
9 9
6 6

r ll r ll r ll r l l r l l r l l r ll r ll r ll r l l r l l r l l r
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(Rolls and Drags)
Downbeat Drags : : Same Diddle, Different Release
44 ! ! ! ! ! !
3 3 3 3 3 3 3 3 3 3 3 3
rr l r ll r l rr l r ll r l r r l r l l r l r r l r l l r l rr l r ll r l r r l r l l r l
This should force you to focus on the rebound of the second note of each diddle.
! !
3 3 3 3

rr l r l l r l rr l r l l r l r
Downbeat Drags : : Downbeat Slurred Drags

3 3 3 3 3 3
44 ! ! ! ! ! !
3 3 3 3 3 3 3 3 3 3 3 3
3 3
! !
3 3 3 3

Downbeat Drags : : Downbeat Tight Drags
44 ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 3 3 3
rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l
! ! ! !
3 3

rr l r ll r l rr l r ll r l r
Downbeat Drags : : Mills
44 ! ! ! ! ! !
3 3 3 3 3 3
! !
3 3

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Also perform these exercises with accents on the quarter-note downbeats.
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(Rolls and Drags)
Tap Drags : : Same Diddle, Different Initiation 1
44 ! ! ! ! ! !
3 3 3 3 3 3 3 3 3 3 3 3
r ll r l rr l r ll r l rr l r l l r l r r l r l l r l r r l r ll r l rr l r l l r l r r l
! !
3 3 3 3

r ll r l r r l r ll r l r r l r
Tap Drags : : Same Diddle, Different Initiation 2
44 ! ! ! ! ! !
3 3 3 3 3 3 3 3 3 3 3 3
! !
3 3 3 3

Tap Drags : : Slurred Tap Drags

3 3 3 3 3 3
44 ! ! ! ! ! !
3 3 3 3 3 3 3 3 3 3 3 3
3 3
! !
3 3 3 3

Tap Drags : : Tight Tap Drags
44 ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 3 3 3
r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l
! ! ! !
3 3

r ll r l rr l r ll r l rr l r
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(Rolls and Drags)
Tap Drags : : Tap-ruffs
44 ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 3 3 3
r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l r ll r l rr l
! ! ! !
3 3

r ll r l rr l r ll r l rr l r
Tap Drags : : Inverted Paradiddles
44 ! ! ! ! ! !
3 3 3 3 3 3
! !
3 3

>3 >3 >3 >3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3
Third-Partial Drags : : Up-Beat Slurred Ruffs
4 ! ! ! ! ! !
4
R l rr L r ll R l rr L r ll R l r r L r l l R l r r L r l l R l rr L r ll R l r r L r l l
> 3 > >

! !
3 3 3

R l rr L r l l r l rr l r l l R
>3 >3 >3 >3 > > > > > 3 > 3 > >
Third-Partial Drags : : Paradiddles
! ! ! ! ! !
44
R l rr L r ll R l rr L r ll R l r r L r l l R l r r L r l l R l rr L r ll R l r r L r l l
> 3 > > 3 > >

! !

R l rr L r l l R l rr L r l l R
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(Rolls and Drags)
>3 >3 >3 >3 > 3 > 3 > 3 > 3 >3 >3 > 3 > 3
Tap-Fives : : Inverted Five-Stroke Rolls
44 ! ! ! !
! ! ! ! ! ! ! !
R ll rr L rr ll R ll rr L rr ll R l l r r L r r l l R l l r r L r r l l R ll rr L rr ll R l l r r L r r l l
> 3 > 3 > 3 > 3 >

! ! ! !

R ll rr L r r l l R ll rr L r r l l R
>3 >3 >3 >3 > 5 > 5 > 5 > 5 >3 >3 > 5 > 5
Tap-Fives : : Slurred Tap-Fives
4 ! ! ! !
4 ! ! ! ! ! ! ! !
R ll rr L rr ll R ll rr L rr ll R l l r r L r r l l R l l r r L r r l l R ll rr L rr ll R l l r r L r r l l
> 3 > 5 > 3 > 5 >

! ! ! !

R ll rr L r r l l R ll rr L r r l l R
> 3 > 3 > 3 > 3 > > > > > 3 > 3 > >
Tap-Fives : : Tight Tap-Fives
4 ! !
4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
R ll rr L rr ll R ll rr L rr ll R ll rr L rr ll R ll rr L rr ll R ll rr L rr ll R ll rr L rr ll
> 3 > > 3 > >

! ! ! ! ! ! ! !

R ll rr L rr ll R ll rr L rr ll R
>3 > 3 > 3 >3 > > > > > 3 > 3 > >
Tap-Fives : : Tap-Drag-Diddles
44 !
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
R ll rr L rr ll R ll rr L rr ll R ll r r L rr l l R ll r r L rr l l R ll rr L rr ll R ll r r L rr l l
> 3 > > 3 > >

!
! ! ! ! !

R ll rr L rr l l R ll rr L rr l l R
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(Rolls and Drags)
>3 > 3 > 3 >3 > > > > > 3 > 3 > >
Tap-Fives : : Tap-Diddle-Drags
4 !
4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
R ll rr L rr ll R ll rr L rr ll R l l rr L r r ll R l l rr L r r ll R ll rr L rr ll R l l rr L r r ll
> 3 > > 3 > >

!
! ! ! ! !

R ll rr L r r ll R ll rr L r r ll R
>3 >3 >3 >3 > - > - > - > - >3 >3 > - > -
Tap-Fives : : Para-Flam-Taps
44 ! ! ! ! ! ! ! ! j j j j ! ! ! ! j j
R ll rr L rr ll R ll rr L rr ll R l r r L r l l R l r r L r l l R ll rr L rr ll R l r r L r l l
> 3 > - > 3 > - >

! ! j ! ! j

R ll rr L r l l R ll rr L r l l R
Five-Stroke Rolls : : Slurred Five-Stroke Rolls
44 ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 3 5 5 5 5 3 3 5 5
rr ll r ll rr l rr ll r ll rr l r r l l r l l r r l r r l l r l l r r l rr ll r ll rr l r r l l r l l r r l
! ! ! !
3 5 3 5

rr ll r l l r r l rr ll r l l r r l r
Five-Stroke Rolls : : Tight Five-Stroke Rolls
44 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 3 3 3
rr ll r ll rr l rr ll r ll rr l rr ll r ll rr l rr ll r ll rr l rr ll r ll rr l rr ll r ll rr l
! ! ! ! ! ! ! !
3 3

rr ll r ll rr l rr ll r ll rr l r
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(Rolls and Drags)
> > > > > 6 > 6 > 6 > 6 > > > 6 > 6
Five-Stroke Pickups : : Paradiddle diddles
! ! ! ! ! ! ! ! ! ! ! !
44
R l rr ll R l rr ll R l rr ll R l rr ll R l r r l l R l r r l l R l r r l l R l r r l l R l rr ll R l rr ll R l r r l l R l r r l l
> > > > >

! ! ! !
6 6

R l rr ll R l r r l l R l rr ll R l r r l l R
> > > > > >

Cloned Six-Stroke Rolls : : Doublestop Huckadigs
>3 >3 >3 >3 >3 >3

44 ! ! ! ! ! ! ! ! ! ! ! !
> >3 > >3 >

! ! ! !
>> >> >> >> >> 6 >> 6 >> 6 >> 6 >> >> >> 6 >> 6
Modified Six-Stroke Rolls : : 2-Accent Paradiddle diddles
44 ! ! ! !
! ! ! ! ! ! ! !
R L rr ll R L rr ll R L rr ll R L rr ll R L r r l l R L r r l l R L r r l l R L r r l l R L rr ll R L rr ll R L r r l l R L r r l l
> > >> 6 > > >> 6 >

! ! ! !

R L rr ll R L r r l l R L rr ll R L r r l l R
> >> >> >> > > 6 >> 6 >> 6 >> 6 >
Six-Stroke Rolls : : Slurred Six-Stroke Rolls
44 ! ! ! ! ! ! ! !
R ll rr L R ll rr L R ll rr L R ll rr L R l l r r L R l l r r L R l l r r L R l l r r L
> >> >> 6 >> 6 > > >> 6 >> >> 6 > >
! ! ! ! ! ! ! !
R ll rr L R ll rr L R l l r r L R l l r r L R ll rr L R l l r r L R ll rr L R l l r r L R
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(Rolls and Drags)
> >> >> >> > > 5:3 > > 5:3 > > 5:3 > > 5:3 >
Six-Stroke Rolls : : Stressed Six-Stroke Rolls
44 ! ! ! ! ! ! ! !
R ll rr L R ll rr L R ll rr L R ll rr L R l l r r L R l l r r L R l l r r L R l l r r L
> > > > > 5:3 > > 5:3 > > > > 5:3 > > > > 5:3 > >
! ! ! ! ! ! ! !
R ll rr L R ll rr L R l l r r L R l l r r L R ll rr L R l l r r L R ll rr L R l l r r L R
> > > > > 7 > 7 > 7 > 7 > > > 7 > 7
Tap-Sevens : : Slurred Tap-Sevens
4 ! ! ! ! ! !
4 ! ! ! ! ! ! ! ! ! ! ! !
R ll rr ll R ll rr ll R ll rr ll R ll rr ll R l l r r l l R l l r r l l R l l r r l l R l l r r l l R ll rr ll R ll rr ll R l l r r l l R l l r r l l
> > > > >

! ! ! ! ! !
7 7

R ll rr ll R l l r r l l R ll rr ll R l l r r l l R
> > > > > 3 > 3 > 3 > 3 > > > 3 > 3
Tap-Sevens : : Upbeat Sevens
4 ! ! ! ! ! !
4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll R ll rr ll
> > > > >

! ! ! ! ! ! ! ! ! ! ! !
3 3

R ll rr ll R ll rr ll R ll rr ll R ll rr ll R
> 5 > 5 > 5 > 5

Tap-Nines : : Slurred Tap-Nines
> > > >
44 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
9 9 9 9
R ll rr ll rr L rr ll rr ll R ll rr ll rr L rr ll rr ll R l l r r l l r r L r r l l r r l l R l l r r l l r r L r r l l r r l l
> > > >

! ! ! ! ! ! ! !
9 9
5 5

R ll rr ll rr L rr ll rr ll R l l r r l l r r L r r l l r r l l
> 5 > > 5 > >

! ! ! ! ! ! ! !
9 9

R ll rr ll rr L r r l l r r l l R ll rr ll rr L r r l l r r l l R
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(Rolls and Drags)
Hertas : : Slurred Hertas

3 3 3 3 3 3
44
3 3 3 3 3 3 3 3 3 3 3 3
r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l
Also, add accents to the third triplet partial to check consistency between the herta interpretations.
3 3
3 3 3 3

r l r l r l r l r l r l r l r l r
Hertas : : Single-Stroke Fours
44
3 3 3 3 3 3 3 3 3 3 3 3
r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l
Note how the lead hand remains constant throughout.
3 3 3 3

r l r l r l r l r l r l r l r l r
Single-Stroke Fours : : Single-Stroke Roll
44
3 3 3 3

r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l
3 3 3 3

r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r
Singles : : Single-Backs
44
3 3 3 3 3 3

r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l
3 3

r l r l r l r l r l r l r
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- 14 -
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(Rolls and Drags)
Single-Backs : : Inverted Single-Backs
44

Singles : : Single-Stroke Ruffs
44
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3

Cloned Singlestrokes : : Cloned Doublestrokes
44
Also, split the hands up: rehearse singles into doublestrokes
Up next... Flam & Hybrid Rudiments

...................
Practice Tip: Film videos of your playing. Watch in slow motion.
Although a mirror is a very effective practice tool, mirrors serve a different purpose than videos. A mirror allows you to
observe your playing in real-time, along with the real-time adjustments you make in response to what you see in the mirror.
A video allows you to scrutinize your playing without being distracted by the adjustments you are trying to make.
Furthermore, you can share your videos with peers to see what feedback they might have for you.
Do not get stuck trying to get a "perfect take." You can overlook the mistakes that you know you're making, because the
video will reveal the mistakes that you don't know that you are making: especially the ones that you overlook in the mirror
because you are preoccupied with other demands. All of these mistakes will end up on your "fix it" list.
If you have video editing softwarelike Apple's iMovieuse it to watch your video in slow motion. Around 80% speed,
you should be able to get really picky with rhythmic accuracy and notice the inconsistencies that, in real-time, tend to blow
past your ear too fast for you to notice what's wrong.
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Flam & Hybrid Rudiments
> > > > > > > > > 3> > 3> > 3> > 3> > > > > > 3> > 3>
Flams : : Swung 16th Notes
44 j j j j j j j
j j j j j j

R L R L R L R L R r L l R r L l R r L l R r L l R L R L R r L l R r L l
> > > 3> > > > 3> >

j

j
j

j

R L R r L l R L R r L l R
> 3 > 3 > 3 > 3 >3 >3 >3 >3 > 3 > 3 > 3 >3
Flam Accents : : Flat Flam Accents
4
4
j j j j

j j

R l r L r l R l r L r l R l r r r l R l r r r l R l r L r l R l r r r l
> 3 > 3 > 3 > 3

l L l L l L
>

j j

j

R l r r r l R l r r r l R
L L
>3 >3 >3 >3 >3 >3 >3 >3 > 3 > 3 >3 >3
Flam Accents : : Modified Hertas
44 j j j j j j

R l r L r l R l r L r l l R l r r L r l l R l r r L r l R l r L r l l R l r r L r l
> 3 >3 > 3 >3 >

j j

j

R l r r L r l R l r r L r l R
>3 >3 >3 >3 > > > > >3 >3 > >
Flam Accents : : Shifted Paradiddles
44

j j j j

j j

R l r L r l R l r L r l l R l r r L r l l R l r r L r l R l r L r l l R l r r L r l
>3 > >3 > >

j j

j

R l r r L r l R l r r L r l R
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- 16 -
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(Flam & Hybrid Rudiments)
>3 >3 >3 >3 >3 >3 >3 >3 >3 > 3 >3 >3
Flam Drags : : Slurred Flam Drags 3 3 3 3 3 3
44 j ! j ! j ! j ! j j j j j ! j ! j j
R ll r L rr l R ll r L rr l R l l r L r r l R l l r L r r l R ll r L rr l R l l r L r r l
> 3 > 3 > 3 > 3 >

3 3
! !
j j j j j

R ll r L r r l R ll r L r r l R
> 3 > 3 > 3 > 3 > > > >

Flam Drags : : Inverted Flam Paradiddles
44 !
!
jj ! j ! j

j j j j

R ll r L rr l R ll r L rr l R l l r L r r l R l l r L r r l
>3 >3 > > >3 > >3 > >

! j !

j j j j
! j
! j j j

R ll r L rr l R l l r L r r l R ll r L r r l R ll r L r r l R
> 3 > 3 > 3 > 3 > > > >

Flam Drags : : Tight Flam Drags
4 !
4 j ! j ! j ! j

j
! j ! j ! j !
R ll r L rr l R ll r L rr l R ll r L rr l R ll r L rr l
>3 >3 > > >3 > >3 > >

!
!

j j ! j ! j

j
! j !
! j ! j

j

R ll r L rr l R ll r L rr l R ll r L rr l R ll r L rr l R
>3 >3 >3 >3 >3 >3 >3 >3 >3 > 3 >3 >3
Flam Drags : : Modified Paradiddles
44 j ! j ! j ! j ! j ! j !
R ll r L rr l R ll r L rr l l R l l r r L r r l l R l l r r L r r l R ll r L rr l l R l l r r L r r l
>3 >3 >3 >3 >

! !
j j j

R ll r r L r r l R ll r r L r r l R
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- 17 -
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> 3 > 3 > 3 > 3 > >3 > >3 > >3 > >3 > 3 > 3 > >3 > >3
Cheeses : : Slurred Cheeses 3 3 3 3 3 3
44 j ! j ! j ! j ! j j j j
j
! j ! j j
RR l r LL r l RR l r LL r l R R l r L L r l R R l r L L r l RR l r LL r l R R l r L L r l
> 3 > >3 > 3 > >3 >

3 3

j
! j j ! j
j

RR l r L L r l RR l r L L r l R
> 3 > 3 > 3 > 3 > - > - > - > -

Cheeses : : Flammed Mills
44
j ! j ! j ! j !
j j j j

RR l r LL r l RR l r LL r l R r l r L l r l R r l r L l r l
>3 >3 >- >- > 3 >- > 3 >- >

! j j !

j j j ! j j ! j j

RR l r LL r l R r l r L l r l RR l r L l r l RR l r L l r l R
> 3 > 3 > 3 > 3 > > > >

Cheeses : : Tight Cheeses
44
j
! ! ! !
j j j

j
!
j
!
j
!
j
!
RR l r LL r l RR l r LL r l RR l r LL r l RR l r LL r l
>3 >3 > > >3 > >3 > >

! j ! j ! j !

j j ! j ! j ! j ! j

RR l r LL r l RR l r LL r l RR l r LL r l RR l r LL r l R
> 3 > 3 > 3 > 3 >3 > >3 > >3 > >3 >
Cheeses : : Bad Cheeses 3 3 3 3
44
j
! j ! j ! j !
RR l r LL r l RR l r LL r l l R R l r r L L r l l R R l r r L L r l
To better understand this rhythm: take out the written accents and rehearse with
downbeat accents. Feel the rhythmic push to the second triplet partial.
> 3 >3 >> >> > 3 >> > 3 >>

3 3 3 3
>
3 3 3 3
! j j !
j ! j ! j

RR l r LL r l l R R l r r L L r l RR l r r L L r l RR l r r L L r l R
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- 18 -
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> 3 > 3 > 3 > 3 >>5 >>5 >>5 >>5

Flam Fives : : Slurred Flam Fives
44
j ! ! j ! ! j ! ! j ! ! j j j j

RR ll r LL rr l RR ll r LL rr l R R l l r L L r r l R R l l r L L r r l
> 3 > 3 > >5 >>5 > 3 >>5 > 3 >>5 >
j ! ! j ! ! j j
j
! ! j j ! ! j
j

RR ll r LL rr l R R l l r L L r r l RR ll r L L r r l RR ll r L L r r l R
> 3 > 3 > 3 > 3 > > > >

Flam Fives : : Tight Flam Fives
44
j ! ! j ! ! j ! ! j ! !
j
! !
j
! !
j
! !
j
! !
RR ll r LL rr l RR ll r LL rr l RR ll r LL rr l RR ll r LL rr l
>3 >3 > > >3 > >3 > >

! ! j ! ! j ! ! j ! !

j j ! ! j ! ! j ! ! j ! ! j

RR ll r LL rr l RR ll r LL rr l RR ll r LL rr l RR ll r LL rr l R
> 3 > 3 > 3 > 3 >> >> >> > 5:4

>
Flam Fives : : Bad Flam Fives 3 3 3 3
5:4 5:4 5:4
4 j ! ! j ! ! j ! ! j ! !
4
R ll r L rr l R ll r L rr l l R R l l r r L L r r l l R R l l r r L L r r l
To better understand this rhythm: take out the written accents and rehearse with downbeat
accents. Feel the rhythmic push to the third triplet partial.
> 3 > 3 >5:4 > >5:4

> > 3 >5:4 > > 3 >5:4 >
3 3 3 3
j ! ! j ! ! j ! ! j ! !
>

j

R ll r L rr l l R R l l r r L L r r l R ll r r L L r r l R ll r r L L r r l R
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- 19 -
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> - > - > - > - > - > - > - > - > - -6 > - - > - -6 > - - > - -6 > - - > - -6> - -
Flam Taps : : Triplestroke Rolls
44 j j j j j j j j j
R r L l R r L l R r L l R r L l R R R L L L R R R L L L R R R L L L R R R L L L
> - > - > - > - > - -6> - - > - -6> - -

j
j
j
j

R r L l R r L l R R R L L L R R R L L L
> - > - > - -6> - - > - > - > - -6> - - >

j j j j
R r L l R R R L L L R r L l R R R L L L R
> > > > > > > > > 6> > 6> > 6> > 6>
Inverted Flam Taps : : Triplet Accents
44 j j j j j j j
j j

R l L r R l L r R l L r R l L r R l r L r l R l r L r l R l r L r l R l r L r l
> > > > > > > 6

> 6
j
j
j
j

R l L r R l L r R l r L r l R l r L r l
> > > 6

> > > > 6
> >

j j j j

R l L r R l r L r l R l L r R l r L r l R
> > > > > > > > > 6 >-> 6 >-> 6 >-> 6 >-
Pataflaflas : : Modified Paradiddle diddles
44
j j j j j j j j j

R l r L R l r L R l r L R l r L R l r r L L R l r r L L R l r r L L R l r r L L
> > > > > 6 >-> 6 >- > > > 6 >-> > > 6 >- >

j j

j j

j j

j j

R l r L R l r L R l r r L LR l r r L L R l r L R l r rL LR l r L R l r rL L R
Swiss Army Triplets : : R.H.-Heavy Doubles
> 3- > 3- > -3 > 3- >> >> >> >> > -3 > -3 > > > >
44 j j j j j j j
R R l R R l R R l R R l R R l l R R l l R R l l R R l l R R l R R l R R l l R R l l
> -3 > > > -3 > > >

j j

R R l R R l l R R l R R l l R
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- 20 -
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> 3- > 3- > 3- > 3- > 3- > -3 > > > >
Swiss Army Triplets : : Same-Hand Cheeses
>> >> >> >>
4
4 j j j
j j j j j j j j j

> - > -
R R l R R l R R l R R l R R l R R l R R l R R l R R l R R l R R l R R l
3
> > 3
> > >

j

j j
j

j

R R l R R l R R l R R l R
> 3- > -3 > 3- > 3- >> >> >> >> > 3- > -3 > > > >
Inverted Swiss Army Triplets : : Cheese Inverts
44 j j j j j j j j

j j j j

R R l L L r R R l L L r R R l L L r R R l L L r R R l L L r R R l L L r
> -3 > > > 3- > > >

j

j
j j

j

R R l L L r R R l L L r R
> 3- > > -3 > > -3 > > -3 > > 3- > > -3 > > > > >
Swiss w/ Kick : : Flams
> > > > > > > >
44 j j j j j j j j j j j j

j j j j j j

R R L R R L R R L R R L R L R L R L R L R R L R R L R L R L
> 3- > > > > -3 > > > >

j
j j

j
j
j

j

R R L R L R R L R L R
> -3 > > -3 > > -3 > > -3 > > - 5- - - > - 5- - - > - 5- - - > - 5- - - > -3 > > -3 > > - 5- - - > - 5- - -
Swiss w/ Flam Kick : : Eggbeaters
44 j j j j j j j j j j j j j
RR L RR L RR L RR L RRRL LRRR LLRRR L LRRR L L RR L RR L RRR LLRRR L L
> -3 > > - 5- - - > -3 > > - 5- - - >

j j j j
R R L R R R L L R R L R R R L L R
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- 21 -
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> - > - > - > - > 5 > 5 > 5 > 5

Para-Flam-Taps : : Slurred Tap-Fives
44 j j j j
R l r r L r l l R l r r L r l l R l l r r L r r l l R l l r r L r r l l
> - > - > 5 > 5 > - > 5 > - > 5 >

j j j j
R l r r L r l l R l l r r L r r l l R l r r L r r l l R l r r L r r l l R
> > > > > 5 > 5 > 5 > 5 > > > 5 > 5
Flam Paradiddles : : Not Shirley Murphies
44

j j j j j j j
R l r r L r l l R l r r L r l l R l r r r L r l l l R l r r r L r l l l R l r r L r l l R l r r r L r l l l
> > 5 > > 5 >

j j
R l r r L r l l l R l r r L r l l l R
Up next... Paradiddle & Drag Rudiments

...................
Practice Tip: Keep a journal of the things you need to work on.
Make a table with all the exercises and performance repertoire you need to work on. With the exercises, keep a record of
which tempi you can play them at, and at which heights/dynamics. Keep track of what you struggle with at the different
tempi. Maybe the accents feel forced at a certain height when you get too fast; maybe the space on a tap roll is inconsistent
beyond a certain tempo; maybe your upstrokes are very uncomfortable for fast tap-fives with 12-inch accents. It's okay to be
messy with your notes... what's important is that you write these things down!
With the performance repertoire, break the music down into short passages, and break the learning process into a set of
demands that you hope to achieve. Your hierarchy of demands might look something like this: "accents being in time, timing
on all rhythms, accent-tap contrast, phrase shaping/dynamics, consistency of touch"... You may have milestones specific to
the passage, too: "releasing the paradiddle-diddle in time, lining up the eighth-note with the sextuplet rhythm, getting the first
diddle down to 3-inches, getting the second diddle up to 6-inches", and so on.
If you are in a drumline setting, you should also populate this notebook with comments you get from staff members,
especially if you are auditioning for an ensemble. In an audition situation, what instructors really look for are students who
apply the things that they say, especially if a comment is made specifically to the student. It's easy to underestimate just how
mentally draining it can be to play in a drumline setting; take it for granted that you will forget things, and write down
anything that might be important. Of course, be courteous: wait until you are no longer on a drum to write your notes down.
Use this journal to set goals for yourself, keep track of what you've worked on, keep track of what you've achieved, and
ensure that you do not overlook something that you need to be spending time on. It doesn't have to be neat... it just has to be
there. You will be surprised by the things that you would have forgotten, and you will be satisfied every time you can check
off something that you used to be unable to do.
And, of course: your work isn't done just because you've practiced something enough to get it right. Practice it enough to get
______________________________________________________________________________________________
it right consistently.
- 22 -
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Paradiddle & Drag Rudiments
> 6 > 6 > 6 > 6 > 5 > 5 > 5 > 5 > 6 > 6 > 5 > 5
Paradiddle diddles : : Fivelet Drag Thing
44 ! ! ! ! ! !
R l r r l l R l r r l l R l r r l l R l r r l l R l rr l l R l rr l l R l rr l l R l rr l l R l r r l l R l r r l l R l rr l l R l rr l l
> > 5 > > 5 >

!
!
6 6

R l r r l l R l rr l l R l r r l l R l rr l l R
> 6 > 6 > 6 > 6 > 5 > 5 > 5 > 5 > 6 > 6 > 5 > 5
Paradiddle diddles : : Fivelet Ruff Thing (1)
4 ! ! ! ! ! !
4
R l r r l l R l r r l l R l r r l l R l r r l l R l r r ll R l r r ll R l r r ll R l r r ll R l r r l l R l r r l l R l r r ll R l r r ll
> > 5 > > 5 >

!
!
6 6

R l r r l l R l r r ll R l r r l l R l r r ll R
> 6 > 6 > 6 > 6 > > > > > 6 > 6 > >
Double Paradiddles : : Herta Thing 1
! ! ! ! ! !
44
R l r l r r L r l r l l R l r l r r L r l r l l R l r l rr L r l r ll R l r l rr L r l r ll R l r l r r L r l r l l R l r l rr L r l r ll
> > > > >

!
!
6 6

R l r l r r L r l r ll R l r l r r L r l r ll R
> 6 > 6 > 6 > 6 > > > > > 6 > 6 > >
Double Paradiddles : : Herta Thing 2
! ! ! ! ! !
44
> > > > >

!
!
6 6

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- 23 -
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(Paradiddle & Drag Rudiments)
> 6 > 6 > 6 > 6 > 5 > 5 > 5 > 5 > 6 > 6 > 5 > 5
Double Paradiddles : : Fivelet Herta Thing
44
R l r l r rLr l r l lR l r l r rL r l r l l R l r l r rLr l r l lR l r l r rLr l r l l R l r l r rL r l r l lR l r l r rL r l r l l
> 6 > 5 > 6 > 5

>

R l r l r r L r l r l l R l r l r r L r l r l l R
> 6 > 6 > 6 > 6 > 5 > 5 > 5 > 5 > 6 > 6 > 5 > 5
Double Paradiddles : : Fivelet Ruff Thing (2)
44 ! ! ! ! ! !
> > 5 > > 5 >

!
!
6 6

> 6 > 6 > 6 > 6 > 6 > 6 > 6 > 6 > 6 > 6 > 6 > 6
Double Paradiddles : : Modified Ratamacues
4 !! !! !! !! !! !!
4
R l r l r r L r l r l l R l r l r r L r l r l l R l r l rr L r l r ll R l r l rr R l r l rr R l r l r r L r l r l l R l r l rr L r l r ll
> > > > >

! ! !
!
6 6 6 6

Modified Double Paradiddles : : Ratamacues
> 6
>
6
>
6
>
6 6
> >
6
>
6
>
6
>
6
>
6 6
> 6
>
4 ! ! ! ! ! !!
4 ! ! ! ! !
r l r L r r l r l R l l r l r L r r l r l R l l r l r L rr l r l R ll r l r L rr l r l R ll r l r L r r l r l R l l r l r L rr l r l R ll
> 6
6
> 6
> 6
>
! ! !
!

r l r L r r l r l R ll r l r L r r l r l R ll r
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- 24 -
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Double Ratamacues : : Slurred Double Ratamacues
> - 6 - 3 > - 6 - 3 > - 6 - 3 > - 6 - 3

44 ! ! ! ! ! ! ! !
R ll r ll r l r L rr l rr l r l R ll r ll r l r L rr l rr l r l
> - 9 - > - 9 - > - 9 - > - 9 -

R l l r l l r l r L r r l r r l r l R l l r l l r l r L r r l r r l r l
> - 6 - 3 > - 6 - 3 > - 9 - > - 9 -

! ! ! !
R ll r ll r l r L rr l rr l r l R l l r l l r l r L r r l r r l r l
> - -3 >
6
-9 - > - -3 >
6
-9 - >
! ! ! !
R ll r ll r l r L r r l r r l r l R ll r ll r l r L r r l r r l r l R
> > > > > > > > > - - 6 > - - > - - 6> - - > - - 6 > - - > - - 6 > - -
Ruffs : : Triplestroke Rolls
44 ! ! ! ! ! ! ! !
R rr L ll R rr L ll R rr L ll R rr L ll R R R L L L R R R L L L R R R L L L R R R L L L
> > > > > - -6> - - > - - 6> - -

! ! ! !
R rr L ll R rr L ll R R R L L L R R R L L L
> > > - -6> - - > > > - -6> - - >

! ! ! !
R rr L ll R R R L L L R rr L ll R R R L L L R
> 5 > 5 > 5 > 5 > 6 > 6 > 6 > 6

Fivelet Ratamacues : : Inverted Double Paradiddles
! ! ! !
44
R ll r l r L rr l r l R ll r l r L rr l r l R l l r l r L r r l r l R l l r l r L r r l r l
> 5 > 5 > 6 > 6 > 5 > 6 > 5 > 6 >

! ! ! !
R ll r l r L rr l r l R l l r l r L r r l r l R ll r l r L r r l r l R ll r l r L r r l r l R
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- 25 -
______________________________________________________________________________________________
> 6 > 6 > 6 > 6 >3 >3 >3 >3

Drag Paradiddles : : Slurred Drag Paradiddles 6 6 6 6
44 ! ! ! !
R ll r l r r L rr l r l l R ll r l r r L rr l r l l R l l r l r r L r r l r l l R l l r l r r L r r l r l l
> > > 3 > 3

6 6
! !
6 6

R ll r l r r L rr l r l l R l l r l r r L r r l r l l
> >3 > >3 >

6 6
! !
6 6

R ll r l r r L r r l r l l R ll r l r r L r r l r l l R
Up next... Modulations
...................
Practice tip: Don't forget to bring a towel! (The "towel method")
The phenomenon known as "pad hands" is the result of developing muscle memory for playing on one surface (a practice
pad) and not being able to apply it to a different surface (a drum). This happens when you generate a feedback loop whereby
the brain sends messages to the hands, and then makes adjustments based on what is seen and heard; i.e., there is an
over-reliance on the assumption that hitting the drum will feel a certain way.
If you practice extensively on different surfaces, even if none of them are actually drum heads, then your "feedback loop" will
also incorporate how it feels to hit a surface that responds a certain way; i.e., you will train your hands to be more
touch-sensitive and to make better use of a surface's rebound. This increased awareness will help you adjust to the feel of a
drum more naturally.
To apply the "towel method," grab a towel and place it on your drum or practice pad. There is one "layer" on the drum now.
Fold the towel over once; there are two layers now. This offers three different "rebound conditions": bare drum, one layer, and
two layers. You can do more if you'd like... To make each rebound condition more drastically different, it may be appropriate
to double-fold the towel initially and treat that as one layerit depends on the thickness of the towel.
Pick a rudiment or exercise that you can practice ad nauseam (i.e., a whole lot) and decide how long to play it at each
rebound condition. For example, maybe you will work on tap-drags at 144 BPM for 20 minutes at each rebound condition.
Start with two layers, and after 20 minutes you will unfold the towel once. 20 minutes after that, you will remove the towel.
20 minutes after that, you should be a lot better at tap-drags.
The diminshed rebound of the towel will force your muscles to work for each stroke, butunlike using a pillow as a practice
padyou will gradually re-introduce the rebound. This gradual transition to the bare drum allows your hands to learn how to
play aggressively enough to excite the drum heads while being relaxed enough to allow the stick to rebound. You gain both
chops and efficiency.
You can develop your own regimen based around the towel method. When I used this method, I would walk up and down the
tempo and height ranges at one rebound condition before moving on to the next one. Conversely, you could walk up and
______________________________________________________________________________________________
down the range of rebound conditions at a single tempo before moving on to the next one.
- 26 -
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II. Modulations
This section of the packet introduces some basic accent patterns into which different rudiments can be fit. The
goal here is to juxtapose different rhythmic speeds of the rudiments. I do not intend to include an exhaustive
list of rudimental applications for each pattern; the variety of exercises is merely intended to give the
performer an adequate sense of how to extend each pattern to different rudimentsthere are many more
possibilities than these!
The appropriate tempo range for a given pattern can be very broad and will depend on the rudiments you
choose to fit into the pattern. Some exercises will be too physically challenging at faster tempi, and some
exercises (especially those with 4:3 tuplets) may feel uncomfortably strange at slower tempi. I recommend
keeping a record of how the different patterns feel at different tempi, so you can pull out exercises that are
appropriate to what you want to accomplish in your practice session: whether you're building control, chopping
out, teasing the fulcrum, or challenging your mind. There's so much room to explore here, just in how you
choose your tempo, so don't be afraid to slow it way down... or kick it way up.
If an exercise messes with your head too much, go back to the basic accent pattern, and then start filling in
parts of the pattern with the rudiment in question. Don't forget to do it all off the left as well!
Modulations in 2
> > >j > > >j > > >j > > > > > > >j > > >j > > >j > > > > >
Accents
42 . . . . . .
R L R L R L R L R L R L R L R L R L R L R L R L R L R
> > >3 > > >3 > > > 3 > 6> > 6>
Triplet Accents
42
R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r
> > >3 > > >3 > > >3 > > > > >
6 6

L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R
(Try with different accent, diddle, and grace-note placements:
e.g., flam drags, tap-fives, downbeat drags, etc.)
> >
Slurred Ruffs
>3 > > >3 > > > 3 > 6> > 6> >
42 ..
R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R
(Try with different three-note rudiments:
e.g., swiss army triplets, swiss w/ kick, etc.)
> 4:3> > > 4:3> > > 4:3> > > > > >
Bucks
>
2
4 ..
R r R r R r R r R r R r R r R r R r R r R r R r R r R
(Try with fill-in
i.e., add L.H. 16th-note inner beats to the eighth notes, etc.)
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- 27 -
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(Modulations in 2)
> >4:3> > > > > >4:3> > > > > >4:3> > > > > > > > > > > >
Flams
>
42 j j j j j j j j j j j j j j j j j j j j j j j j j j ..
j

R L R L R L R L R L R L R L R L R L R L R L R L R L R
> - 4:3> - > - > -4:3> - > - > - 4:3> - > - > > > >
Flam-Taps
42 j j j j j j

j j j

j j j j

R r L l R r L l R r L l R r L l R r L l R r L l R r
> - > - >- 4:3

> - > - > - 4:3
> - > - >- 4:3
> > > > >
j j

j

j
j j
j
j j
j j j j

j

L l R r L l R r L l R r L l R r L l R r L l R r L l R
(Try with different two-note rudiments:
e.g., inverted flam-taps, cheese inverts, etc.)
Doublestrokes I
42
4:3 4:3 4:3
r r l l r r l l r r l l r r l l r r l l r r l l r r
4:3 4:3 4:3

l l r r l l r r l l r r l l r r l l r r l l r r l l r
Doublestrokes II
42 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ..
4:3 4:3 4:3
rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll r
Doublestrokes III
42 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 6 6
rr ll ... rr ll rr ll rr ... ll rr ll rr ll ... rr ll rr ll rr ll ...
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
3 3 3 6 6
ll rr ... ll rr ll rr ll ... rr ll rr ll rr ... ll rr ll rr ll rr ... r
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- 28 -
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(Modulations in 2)
> 4:3 > 4:3 > > 4:3 > 4:3 > > 4:3 > 4:3 > > > > >
Paradiddles
42
R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r
> 4:3 > 4:3 > > 4:3 > 4:3 > > 4:3 > 4:3 > > > > > >

L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R
(Try with different four-note rudiments:
e.g., flammed mills, inverted paradiddles, six-stroke rolls etc.)
> 5:3 > 5:3 > 5 > 5:3 > 5:3 > 5 > 5:3 > 5:3 > 5 > 5 > 5 > 5 > 5
Slurred Tap-Fives
42
R l l r rL r r l lR l l r r L r r l lR l l r rL r r l l R l l r rL r r l lR l l r r L r r l lR l l r rL r r l lR l l r r
> 5:3 > 5:3 > 5 > 5:3 > 5:3 > 5 > 5:3 > 5:3 > 5 > 5 > 5 > 5 > 5 >

Lr r l lR l l r rL r r l l R l l r rL r r l lR l l r r L r r l lR l l r rL r r l l R l l rrL r r l lR l l r rL rr l l R
> > > 6 > > > 6 > > > 6 > 6 > 6 > 6 > 6
Double Paradiddles
42
R l r l r rL r l r l lR l r l r r L r l r l lR l r l r rL r l r l l R l r l r rL r l r l lR l r l r r L r l r l lR l r l r r L r l r l lR l r l r r
> > > 6 > > > 6 > > > 6 > 6 > 6 > 6 > 6 >

L r l r l lR l r l r r L r l r l l R l r l r r L r l r l lR l r l r r L r l r l lR l r l r r L r l r l l R l r l r r L r l r l lR l r l r r L r l r l l R
(Try with different six-note rudiments:
e.g., paradiddle-diddles, slurred six-stroke rolls, shirley murphys, etc.)
Up next... Modulations in 3
...................
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- 29 -
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Modulations in 3
>
Accents
> > > > >j >j > > > > > >j >j >
3
4 . ! . . ! . ..
R L R L R L R L R L R L R L R
>3 >3 >3 > > > > >3 >3 >3 > > > > >
Triplet Accents
3
4 .
.
R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R
>3 >3 >3 > > > > >3 >3 >3 > > > > >
Slurred Ruffs
3
4 .
.
R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R
Bucks
> > > > 4:3> > 4:3> > > > > 4:3> > 4:3> >
43 ..
R r R r R r R r R r R r R r R r R r R r R r R r R r R r R
(Try with fill-in
Flams
> > > > > > > >4:3> > > >4:3> > > > > > > > > >4:3> > > >4:3> > >
43 j j j j j j j j j j j j j j j j j j j j j j j j j j j j ..
j

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
>- >- >- > -4:3> - > - 4:3> - >- >- >- > -4:3> - > -4:3> - >
Flam-Taps
43 j j
j j j j j

j j j
..
j j j j

j

R r L l R r L l R r L l R r L l R r L l R r L l R r L l R
Doublestrokes
43 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ..
4:3 4:3 4:3 4:3
rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll r
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- 30 -
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(Modulations in 3)
>
Paradiddles
> > > 4:3 > 4:3 > 4:3 > 4:3
43
R l r r L r l l R l r r L r l l R l r r L r l l R l r r
> > > > 4:3 > 4:3 > 4:3 > 4:3 >
.
.
L r l l R l r r L r l l R l r r L r l l R l r r L r l l R
> 5 > 5 > 5 > 5:3 > 5:3 > 5:3 > 5:3
Slurred Tap-Fives
43
R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r
> 5 > 5 > 5 > 5:3 > 5:3 > 5:3 > 5:3 >
.
.
L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R
> 6
Double Paradiddles
> 6 > 6 > > > >
43
R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r
> 6 > 6 > 6 > > > > >

.
.
L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R
...................
Practice tip: Play along to music at least as much as you play with a metronome.
Efficiency and endurance are two qualities that are the most tedious to work on, but you can develop these skills while also
training your ear if you play along to music. Pick an exercise, and decide to repeat it for the duration of a song. Pick a song
that has a consistent tempo and solid timing (easily taken care-of if it's electronic dance music or hip-hop); then, just go for it.
Maintain the mental focus to keep doing the right things with your hands (or pushing for the right adjustments) while also
feeling how the music you play interacts with the music you are listening to.
It can be the simplest, most repetitive exercise in the world, but there is still an interaction going on. Think of music like a
conversation: the same word spoken by the same person can mean different things depending on the dialogue around it.
You will find that certain tunes lend themselves well to certain exercises, and you should keep track of what songs go well
______________________________________________________________________________________________
with which exercises and at what tempi. Eventually, you should have a sizable list of tracks to jam out to.
- 31 -
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Modulations in 4
> > > > > >3 > > >3 > > > > >3 > > > > >3 > >
Accents
44 .. .. ..
R L R L R L R L R L R L R L R L R L R L R
>3 >3 >3 >3 > >9 > > >9 > >3 >3 > >9 > >3 >3 > > 9 > >
Triplet Accents
4
4 . .
. . .
.
R l rL r lR l rL r l R l rL r lR l rL r lR l r L r l R l rL r lR l r L r lR l r L r lR l rL r lR l rL r l R
>3 >3 >3 >3 > >9 > > >9 > >3 >3 > >9 > >3 >3 > >9 > >
Slurred Ruffs
4
4 . .
. . .
.
R l lR l lR l lR l l R l lR l lR l lR l lR l lR l l R l lR l lR l lR l lR l l R l lR l lR l lR l lR l l R
> > > > > 3 > >3 > 3 > >3
Bucks
> > > 3 > >3 > > > 3 > >3 >
4
4 . .
. . .
.
R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R
(Try with fill-in
Flams
> > > > > > > > > >3 > > >3 > > >3 > > >3 >
44 j j j j j j j
j j j j j j j j j j j j j
..
R L R L R L R L R L R L R L R L R L R L
> > > > > >3 > > >3 > > > > > > >3 > > >3 > >
.. j j j j j j j j j j ..
j j j j j j j j j j

j

R L R L R L R L R L R L R L R L R L R L R
>
Flam-Taps
- > - > - > - > -
3
> - >3 - > -3 > - >3 -
4
4
j

j

j

j

j

j

j

j

j

j
..
R r L l R r L l R r L l R r L l R r L l
> - > - > -3 > - 3> - > - > - > -3 > - 3> - >
.. j j j j j ..
j j j j j

j

R r L l R r L l R r L l R r L l R r L l R
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- 32 -
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(Modulations in 4)
Doublestrokes
44 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! .. .. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ..
3 3 3 3 3 3 3 3
rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll r
>
Paradiddles
> > > > 6 > >6 > 6 > >6
44 ..
R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l
> > > 6 > >6 > > > 6 > >6 >
.. ..
j

R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R
...................
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- 33 -
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Modulations in 5
>
Accents
>j > > > >j >j > >
5
4 .. .. ..
R L R L R L R L R
> > > 3 > 3 > > 3 > > 3 >

Triplet Accents
45 .. .. ..
R l r L r l R l r L r l R l r L r l R l r L r l R
> >
Slurred Ruffs
> 3 > 3 > > 3 > > 3 >
5
4 . .
. . .
.
R l l R l l R l l R l l R l l R l l R l l R l l R
> >j
Tap-Drag Breakdown
>3 >3 > >3 > >3 >
5
4 . ! ! .. .. ! . ! ..
R l l L r r R l l L r r R l l L r r R l l L r r R
(Add grace-notes to accents in order to work on flam-drags)
> >j >3 >3 > >3 > >3 >

Paradiddle-Diddle Breakdown
5
4 . ! ! . .
. . !
. ! .
.
R r r R r r R r r R r r R r r R r r R r r R r r R
> > > 6 > 6 > >3 3 > > 6 >

Double Paradiddles
5
4 . .
. . .
.
R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R
> 4:3 > 4:3 > > > 4:3 > > 4:3 >
Paradiddles
>
5
4 . .
. . .
.
R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R
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- 34 -
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(Modulations in 5)
> -4:3> - > -4:3> - > - > - > - > - > -4:3> - > - > - > -4:3> - > - > -
Flam-Taps
>
45 j j j j j j j j .. .. j j j j j j j j ..
j

R r L l R r L l R r L r R r L l R r L l R r L l R r L l R r L l R
> >4:3> > > >4:3> > > > > > > > > > > >4:3> > > > > > > >4:3> > > > > > >
Doublestrokes I
45 .. .. ..
R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R
>
(Pay attention to the eighth-note subdivision.)
Doublestrokes II
5
3
. . .
6 6 3 6
4 . . .
r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l r r l l R
> 5:3 > 5:3 > 5:4 > 5:4 > 5:3 > 5:4 > 5:3 > 5:4
Slurred Tap-Fives
>
5
4 . .
. . .
.
R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R
...................
Practice tip: Splitting up the hands, one-handed breakdowns, and cloning.
When rehearsing certain rudiments or musical passages, it can be helpful to split the hands up between different surfaces;
i.e., play either the right or left hand on the rim, on your leg, or some other surface. This will allow you to focus on one hand
to better hear timing or dynamic inconsistencies that you can then correct. It is also a great way to discover the cool grooves
that can develop from splitting certain rudiments between surfaces; for example, check out how flam paradiddle-diddles
sound when the hands are split up.
It can also be helpful to simply focus on a single hand's part, paying special attention to stroke heights and how the stick
moves. One-handed breakdowns can only take you so far, since much of the difficulty of flam passages comes from
coordinating the hands together in order to achieve appropriate grace-note placement. Nonetheless, isolating one hand
removes that layer of difficulty, allowing you to focus on the physical demands of the music (for example, flam passages
often involve series of three or four taps on the same hand, diddles placed directly after taps on the same hand, and quick
upstrokes: demands that are not often practiced outside of flam contexts).
To go one step further, clone it: i.e., play the one-handed breakdown as doublestops. After assessing the technical demands
of the passage with the one-handed breakdown, you should play it with both hands at the same timeideally in front of a
mirrorto make sure that both hands are attempting to meet these demands in the same way. Cloning will take you a long
way in terms of matching motion and sound quality between hands.
Be careful with cloning, however, as there may be a tendency to form an overreliance on larger muscle groups (e.g. forearm
motion) to play the breakdown, especially in traditional grip. Since it is more difficult to match the motions of smaller
muscle groups between your hands (especially when the grips are different), there will probably be plenty of dirt in the
doublestops at first. A lot of younger players eliminate this dirt by matching the motion of the forearms, not realizing that
they lose wrist turn and stick velocity in the process. Be mindful of this pitfall while cloning.
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- 35 -
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Modulations in 6
>
Accents
>j > > > > >j > > > >
6
4 .. "
R L R L R L R L R L R
> > >3 >3 >3 > > >3 >3 >3 >
Triplet Accents
6
4 .
. "
R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R
> > > 3 > 3 > 3 >

Slurred Ruffs
6
4 .. "
R l l R l l R l l R l l R l l R
> >j
Tap-Drag Breakdown
>3 >3 >3 > >j >3 >3 >3 >
6
4 . ! ! ! . ! ! .
! . "
R l l L r r R l l L r r R l l L r r R l l L r r R l l L r r R
> >j >3 >3 >3 >

Paradiddle-Diddle Breakdown
46 . ! ! ! .. "
R r r R r r R r r R r r R r r R
> > > 6 > 6 > 6 > > > 6 > 6 > 6 >
Double Paradiddles
6
4 .
. "
R l r l r rL r l r l lR l r l r rL r l r l lR l r l r r L r l r l lR l r l rrL r l r l lR l r l rrLr l r l l R
> 4:3 > 4:3 > > > > 4:3 > 4:3 > > >
Paradiddles
>
6
4 .
. "
R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R
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- 36 -
______________________________________________________________________________________________
(Modulations in 6)
> - 4:3 > - > - 4:3 > - > - > - > - > - > - > -
Flam-Taps
>
46 j j j j j j j j j j .. "
R r L l R r L l R r L r R r L l R r L l R
> >4:3> > > >4:3> > > > > > > > > > > > > >
Doublestrokes I
>
46 .. "
R R L L R R L L R R L L R R L L R R L L R
Doublestrokes II
>
6 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
4 .. "
3 3 3 3 3 3
r r l l r r l l r r l l rr ll rr ll rr ll rr ll rr l l r r l l r r l l r r ll rr ll rr ll rr ll rr ll R
> 5:3 > 5:3 > 5:4 > 5:4 > 5:4 > 5:3 > 5:3 > 5:4 > 5:4 > 5:4
Slurred Tap-Fives
>
6
4 .
. "
R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R
...................
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- 37 -
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Modulations in 7
> > > > > > >j >j > > > > >j >j >j >j >
Accents
74 . ! . .. .. . ! . .. "
R L R L R L R L R L R L R L R L R
>3 >3 >3 >3 > > > > >3 >3 > > >3 >3 > > >
Triplet Accents
7
4 . .
. . .
. "
R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R l r L r l R
>3 >3 >3 >3 > > > > >3 >3 > > >3 >3 > > >
Slurred Ruffs
7
4 . .
. . .
. "
R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R l l R
Bucks
> > > > > 4:3> > 4:3> > > > 4:3> > > > 4:3> >
74 .. .. .. "
R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R r R
(Try with fill-in
Flams
> > > > > > > > > >4:3> > > >4:3> > > > > > > >4:3> > > > > > > >4:3> > >
74 j j j j j j j j j j j j j j j j .. .. j j j j j j j j j j j j j j j j ..
j
"
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
> - > - > - > - > -4:3> - > -4:3> - > - > - > -4:3> - > - > - > -4:3> - >
Flam-Taps
74 j j j j j j j j .. .. j j j j j j j j .. "
R r L l R r L l R r L l R r L l R r L l R r L l R r L l R r L l R
Doublestrokes
74 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! .. .. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ..
4:3 4:3 4:3 4:3
"
rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll rr ll r
______________________________________________________________________________________________
- 38 -
______________________________________________________________________________________________
(Modulations in 7)
> > > > > 4:3 > 4:3 > 4:3 > 4:3
Paradiddles
74 ..
R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l
> > > 4:3 > 4:3 > > > 4:3 > 4:3 >
.. .. "
R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l R
> 5:4 > 5:4 > 5:4 > 5:4 > 5:3 > 5:3 > 5:3 > 5:3
Slurred Tap-Fives
74 ..
R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l
> 5:4 > 5:4 > 5:3 > 5:3 > 5:4 > 5:4 > 5:3 > 5:3 >
.. .. "
R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R l l r r L r r l l R
> 6
Double Paradiddles
> 6 > 6 > 6 > > > >
74 ..
R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l
> 6 > 6 > > >3 3 >3 3 > > >

.
. .
. "
R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R l r l r r L r l r l l R
Up next... O-Hand Control

...................
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- 39 -
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III. O-Hand Control

These exercises juxtapose rudiments that consist of the same lead-hand breakdown as each other. The
performer is not only challenged to control the non-lead hand in order to transition between the different
rudiments, but should also pay attention to the slight differences in how the lead hand must perform. Even
though the one-handed breakdown might be apparently the same (as with pataflaflas and inverted flam taps),
there will be slight variations in timing (and possibly stick height) when the two hands are put together,
depending on which notes of the breakdown are taps and which ones are grace-notes.
The included exercises are merely examples intended to convey this concept and give you some starting points;
the sky is really the limit when it comes to these kinds of exercises. For example, if the lead hand is playing
bucks (R r R r), there are countless possibilities for what variations can be done with the off hand, be they
added grace-notes, added drags, added inner beats, or any combination thereof. As with the Juxtapositions
section of this packet, variations of the same rudiment can be mixed with each other.
> 6> > 6> > 6> > 6> > 6 > 6 > 6 > 6
Flam Accents : : Para Flam-Tap Flam-Taps
4
4 j j
j j j j j j j j j j j j j j
R l r L r l R l r L r l R l r L r l R l r L r l R l r r l lR l r r l lR l r r l lR l r r l l
> 6
> > 6
> > 6 > 6
j
j j j j j j j

R l r L r l R l r L r l R l r r l l R l r r l l
> 6
> > 6 > 6
> > 6
>
j
j j j j j j j

j

R l r L r l R l r r l l R l r L r l R l r r l l R
> 3- > 3- > 3- > -3 > >3 - > >3 - > >3 - > >3 -
Swiss Army Triplets : : Off-Hand Swiss w/Kick
44
j j j j
j j j j
R r l R r l R r l R r l R L l R L l R L l R L l
> 3- > 3- > 3> - > 3> - > 3- > 3> - > 3- > 3> - >
j j j j
j j j j

j

R r l R r l R L l R L l R r l R L l R r l R L l R
- -3 - -3 - -3 - -3 - - 3- - - - 3- - - - 3- - - - 3- -
Swiss Army Triplets : : Hertas
44

j j j j

R R l R R l R R l R R l R L R L R L R L R L R L R L R L
- 3- - 3- - - - - - - - - 3 3
- 3- - - - - - 3- - - - -3 3
-
j

j

j
j
j

R R l R R l R L R L R L R L R R l R L R L R R l R L R L R
______________________________________________________________________________________________
- 40 -
______________________________________________________________________________________________
(O-Hand Control)
- 3- - -3 - -3 - -3 - 3- - - - -3 - - - 3- - - - 3- - - - 3- - 3- - 3- - - - 3- - -
Swiss Army Triplets : : Four-Stroke Rolls
44 j j j

j

j
j
R R l R R l R R l R R l R L R L R L R L R L R L R L R L R R l R R l R L R L R L R L
- -3 - 3- - - - -3 - -3 - - -

j

j

j

R R l R L R L R R l R L R L R
Swung Flam Taps : : 2-Accent Paradiddle diddles
> 3> > 3> > 3> > 3> >> 6 >> 6 >> 6 >> 6
44
j j j j j j j j
R r L l R r L l R r L l R r L l R L r r l l R L r r l l R L r r l l R L r r l l
> 3> > 3> >> 6 >> 6 > 3> >> 6 > 3> >> 6 >
j j j j j
R r L l R r L l R L r r l l R L r r l l R r L l R L r r l l R r L l R L r r l l R
> > > > > > > > > > > > > > > >
Pataflaflas : : Inverted Flam Taps
4
4
j j j j j j j j

j
j j j j j j j
R l r L R l r L R l r L R l r L R l L r R l L r R l L r R l L r
> > > > > > > > > > > > > > > > >
j j j j j j j

j

j
j j j j j j j
j

R l r L R l r L R l L r R l L r R l r L R l L r R l r L R l L r R
> > > > > > > >

Pataflaflas : : Single-Stroke Fives (Pickup)
> > > >
4
4
j

jj j j j j j

j

R l r L R l r L R l r L R l r L R l r l r l R l r l r l R l r l r l R l r l r l
> > > > > > > > > > > > >

j j

j j

j j

j j

R l r L R l r L R l r l r l R l r l r l R l r L R l r l r lR l r L R l r l r l R
______________________________________________________________________________________________
- 41 -
______________________________________________________________________________________________
(O-Hand Control)
> - > - > - >- > - > - > - >- >>--- ->>--- ->>--- ->>--- -
Flam Taps : : 2-Accent Single-Stroke Fives
44 j j j j j j j

j
R r L l R r L l R r L l R r L l R L r l r l R L r l r l R L r l r l R L r l r l
> - > - > - > ->> - - - ->> - -- - > - > ->> - - - - > - > ->> - - - - >
j j j

j

j
j j j
j

R r L l R r L lRL r l r lRL r l r l R r L lRL r l r l R r L lRL r l r l R
> 3 > 3 > 3 > 3 > 3 >3 > 3 >3 > 3 > 3 > 3 >3 > 3 >3 > 3 >3 >
Tap-Fives : : Ruffs
4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
4
R ll rr L rr ll R ll rr L rr ll R rr L ll R rr L ll R ll rr L rr ll R rr L ll R ll rr L ll R ll rr L ll R
> 6 > 6 > 6 > 6 > 3 > 3 > 3 > 3

Double Paradiddles : : Tap Flam-Fives
44 j ! !
j ! ! j ! ! j ! !
R l r l r r L r l r l l R l r l r r L r l r l l R ll rr L rr ll R ll rr L rr ll
> 6 > 6 > 3 > 3 > 6 > 3 > 6 > 3 >

j ! ! j ! ! j ! ! j ! !
R l r l r r L r l r l l R ll rr L rr ll R l r l r r L rr ll R l r l r r L rr ll R
r! > > > > > > > >

Lesson 25 : : Slurred Ruffs
6 6 6 6
4 ! ! ! !
4
ll r l R ll r l R ll r l R ll r l R ll r l l R l l r l l R l l r l l R l l r l l R l l
> > > > 6 6

> > > > 6 6
! !
! !

r l R ll r l R ll r l l R l l r l l R l l r l R ll r l l R l l r l R ll r l l R l l r
> > > > > > > >

Modified Pataflaflas : : Accented Single-Stroke Fives
> > > >
44 j j j j j j j j
R L r l R L r l R L r l R L r l R l r l r l R l r l r l R l r l r l R l r l r l
> > > > > > > > > > > > >

j j

j j j j

j j

j

R L r l R L r lR l r l r lR l r l r l R L r lR l r l r l R L r lR l r l r l R
Have you done it all o the left as well?

...................
______________________________________________________________________________________________
- 42 -

Rudiment Control 2015

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Rudiment Control 2015

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____________________________________________________

This packet is divided into three main sections:

These exercises juxtapose rudiments with different rhythmic interpretations of themselves, as

III. "Off-Hand Control"

(Triplet) Lead-Hand Drags :: (Triplet) Slurred Lead-Hand Drags

Tap Drags :: Same Diddle, Different Initiation 1

Tap Drags :: Tap-Ruffs

Tap-Fives :: Inverted Five-Stroke Rolls

Five-Stroke Pickups :: Paradiddle diddles

Six-Stroke Rolls :: Stressed Six-Stroke Rolls

Hertas :: Slurred Hertas

Single-Backs :: Inverted Single-Backs

Flam Rudiments and Hybrids

Flam Drags :: Slurred Flam Drags

Cheeses :: Slurred Cheeses

Flam Fives :: Slurred Flam Fives

Flam Taps :: Triplestroke Rolls

Swiss Army Triplets :: Same-Hand Cheeses 21

Para Flam-Taps :: Slurred Tap-Fives 22

Paradiddle and Drag Rudiments

Double Paradiddles :: Fivelet Herta Thing 24

Double Ratamacues :: Slurred Double Ratamacues

Drag Paraddidles :: Slurred Drag Paradiddles

______________________ III. O-Hand Control ______________________

Flam Accents :: Para Flam-Tap Flam-Taps 40

Swiss Army Triplets :: Four-Stroke Rolls 41

Flam-Taps :: 2-Accent Single-Stroke Fives 42

For thorough practice:

Rolls and Drags

Four-Stroke Rolls : : Open Roll

(Duple) Lead-Hand Drags : : Slurred Lead-Hand Drags

(Duple) Off-Hand Drags : : Slurred Ruffs

(Rolls and Drags)

(Triplet) Lead-Hand Drags : : Slurred Lead-Hand Drags

(Triplet) Off-Hand Drags : : Slurred Ruffs

(Rolls and Drags)

Downbeat Drags : : Same Diddle, Different Release

Downbeat Drags : : Downbeat Slurred Drags

Downbeat Drags : : Downbeat Tight Drags

Downbeat Drags : : Mills

20122015 Matthew Lemieux

(Rolls and Drags)

Tap Drags : : Same Diddle, Different Initiation 1

Tap Drags : : Same Diddle, Different Initiation 2

Tap Drags : : Slurred Tap Drags

Tap Drags : : Tight Tap Drags

20122015 Matthew Lemieux

(Rolls and Drags)

Tap Drags : : Tap-ruffs

Tap Drags : : Inverted Paradiddles

> 3 > >

> 3 > > 3 > >

20122015 Matthew Lemieux

(Rolls and Drags)

> 3 > 3 > 3 > 3 >

> 3 > 5 > 3 > 5 >

> 3 > > 3 > >

> 3 > > 3 > >

(Rolls and Drags)

> 3 > > 3 > >

> 3 > - > 3 > - >

Five-Stroke Rolls : : Slurred Five-Stroke Rolls

Five-Stroke Rolls : : Tight Five-Stroke Rolls

20122015 Matthew Lemieux

III. O-Hand Control