Marching S.D.s exercises
.pdfEights Dynamics
SnareScience.com - Universal
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Purpose: |
This exercise focuses on the basic velocity stroke while changing heights. The idea is to use the same exact technique and stick |
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velocity, regardless of the stroke height. |
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Stick motion: |
All strokes in this exercise should be very legato. In the cresc and decresc measures, make sure that the stick height changes |
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gradually over the entire measure. A very common tendency is to decrescendo too quickly. It takes some control to gradually |
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decrease the stick height. |
2) |
Sound Quality: |
Make sure that the quality of sound is consistent regardless of stick height. A very common tendency is to pound the last note |
of the crescendos. Don't do it! Also, make sure the last few notes at the end of the decrescendos are still solid taps. Don't let the sound die out - keep putting velocity into the stick.
3)Rhythm and Timing: How perfect is your eighth note rhythm? Some common areas where mistakes occur:
a)First two notes of the exercise: The first note defines the exercise starting point and the second note defines the tempo. You must internalize the tempo before you start so that these two notes are 'perfect'.
b)Hand-to-hand transfers: It is very common for people to warp the rhythm when switching hands. The key here is to think of the exercise as a steady stream of eighth notes while ignoring the fact that you are switching hands.
c)Changing tempo with the dynamics. Make sure your tempo is completely independent of the dynamics - METRONOME!
4)Variations to this exercise:
a)Double the length of each measure.
b)Halve the length of each measure.
c)Play exercise with different variation in heights.
d)Play exercise as all double stops, checking that the stick motion from left to right is the same.
Extendo Triplet Diddle
SnareScience.com - Universal
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Purpose: |
This exercise focuses on diddle consistency. First, a single diddle is played on each partial of the triplet. Next, 5-stroke rolls are |
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played with all possible permutations across the beat. The exercise ends with a diddle roll and a tap roll. |
1)Stick motion: This exercise should be very mono-height and very legato. Don't change the stick motion when switching from check to roll and vice versa.
2)Sound Quality: The goal is to play the diddles with the same exact volume and quality of sound as the check patterns. Here are some common mistakes:
a)Pounding the release of each roll.
b)Playing the second note of each diddle weakly -> bust your chops on sanford double beat!
b)Playing the check patterns higher than you can play the rolls.
c)Freezing the stick at any point in the exercise, especially on the 'tap' note of a tap roll or tap drag.
d)Playing the right hand louder than the left... don't be the guy with the weak left!
3)Rhythm and Timing: How perfect is your underlying eighth note rhythm? How about the interp on the diddles? Some common problem areas:
a)First two notes of the exercise and first two notes after a roll measure: It is very easy to rush check patterns, especially right after playing a measure that is more difficult. Make a conscious effort to control the space between these two notes!
b)'Slurring' diddles: Don't think of the 'diddles' as some nebulous rudiment. The diddles in this exercise are simply a 16th note RHYTHM. Try playing the exercise so slowly that you have to completely stroke out every single note. If you are not thinking about the rhythm of the diddles, it will be very difficult to play the exercise accurately.
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SnareScience.com, Pat Fitz-Gibbon (?) - Universal |
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R L R R R L R R R L R L L L R L L L
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Purpose: |
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The purpose of this exercise is to destroy your brain! Make sure you learn this one while marking time. Once you have this |
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exercise mastered, you should know exactly how your feet (i.e. the pulse) line up with the accents. Some things to think about: |
1)Stick motion: Do your sticks move exactly the same way for every tap? How about for every accent?
2)Sound Quality: Does every tap stroke sound the same? How about from left to right hand? Make sure you play every tap with the same
exact volume. The same goes for all of the accents.
3)Rhythm and Timing: How perfect is your rhythm? Some common areas where mistakes occur:
a)First two notes of the exercise: The first note defines the exercise starting point and the second note defines the tempo. You must internalize the tempo before you start so that these two notes are 'perfect'.
b)Underlying sixteenth note pulse: Don't let the accents affect the rhythm!
Flam Accent Break Down
SnareScience.com - Universal
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Purpose: |
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This exercise breaks down the left and right hands of the flam accent rudiment. This is an excellent exercise for developing flam quality |
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and consistency. |
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1) Stick motion: This exercise should be very legato. Make sure there you use three distinct heights - one height for accents, one for eight note flam grace notes, and a tap height for all other notes. The grace notes for the eight note flams can be played at a true grace note height (1"). 16th note flams should be played with a 3" grace notes. If you think about it, playing a true grace note height for every flam would simply not work at any appreciable tempo. This would require you to play a fast triple stroke with 3", 1", 3" heights. Not worth it!
2) Sound Quality: The main area where mistakes are made is in the three taps following the accent. This is basically a tap height triple stroke.
Make sure that the third note of the triple stroke is just as load as the first note. This is the job of the fingers in the right hand and the thumb of the left hand.
3) Rhythm and Timing: The main issue here is going to be flam consistency. Placing a very consistent space between the grace note and the main note
is one of the greatest challenges in snare drumming. Some say the 'perfect flam' is unattainable. :) So, when you play this exercise, really tune your ear in to the quality of your flams. It helps to play this exercise on a very hard surface, such as a piece of wood. The short duration of the sound will allow you to hear and identify any variation in your flam quality.
4)Variations to this exercise:
a)Play one hand on drum and one hand on rim to check for stroke and quality of sound consistencyon each individual hand. Make sure the hand on the drum doesn't change when you add in the other hand!
b)Try playing the exercise with different definitions of a perfect 'flam'. Try to play really loose grace notes consistenly. Try to
'pop' your flams (play grace note exactly on top of main note) consistently. Try to play malfs (grace note after main note) consistently. When you can do all these things, you have full conscious control over where the grace note is placed.
c)Add ornaments. Make the exercise cheese accent break down, flam drag break down, and flam five break down.
d)Grid it. Play the exercise with the accent on the 2nd or 3rd partial of the triplets.
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Flam Drag Break Down |
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snarescience.com - Universal |
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Purpose: |
This exercise breaks down the left and right hands of the flam drag rudiment. This is an excellent exercise for developing flam drag quality and consistency. |
Notes: |
This exercise should be very legato. Make sure that you use three distinct heights - one height for accents, one for eighth note flam |
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grace notes, and a tap height for all other notes. The grace notes for the eighth note flams can be played at a true grace note height (1"). |
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16th note flams should be played with 3" grace notes. |
Sound Quality: The main area where mistakes are made is in the three taps (including the diddle) following the accent. This is basically a tap-height triple stroke with a diddle on the end. Make sure that the sound quality on all the taps is consistent. This is the job of the fingers on the right hand and the
thumb and index finger of the left hand.
Rhythm and Timing:
The main issues here are going to be flam and diddle rhythmic consistency. Placing a very consistent space between the grace note and the main note of a flam is one of the greatest challenges in snare drumming. In addition, getting a consistent tap-height diddle at the end of the triple stroke can be challenging. So, when you play this exercise, really tune your ear in to the quality of your flams and diddles. It helps to play this exercise on a the hard side of a
practice pad. The short duration of the sound will allow you to hear and identify any variation in your flam and diddle quality.
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Flam Five Break Down |
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Purpose: |
This exercise breaks down the left and right hands of the flam five rudiment. This is an excellent exercise for developing flam five quality and consistency. |
Notes: |
This exercise should be very legato. Make sure that you use three distinct heights - one height for accents, one for eighth note flam |
|
grace notes, and a tap height for all other notes. The grace notes for the eighth note flams can be played at a true grace note height (1"). |
|
16th note flams should be played with 3" grace notes. |
Sound Quality: The main areas where mistakes are made is in accented diddle and the three taps (including the diddle) following the accent. A common tendency is to play the accented diddle with a harsh sound quality. Make sure you are playing the diddle with the same quality that you would use for a double stroke in Sanford double beat. The taps are basically a tap-height triple stroke with a diddle on the end. Make sure that the sound quality on all the taps is consistent. This is the job of the fingers on the right hand and the thumb and index finger of the left hand.
Rhythm and Timing:
The main issues here are going to be flam and diddle rhythmic consistency. Placing a very consistent space between the grace note and the main note of a flam is one of the greatest challenges in snare drumming. In addition, getting a consistent tap-height diddle at the end of the triple stroke can be challenging. So, when you play this exercise, really tune your ear in to the quality of your flams and diddles. It helps to play this exercise on a the hard side of a
practice pad. The short duration of the sound will allow you to hear and identify any variation in your flam and diddle quality.
Grid Independence
Right Hand Accent - Tap
Left Hand 16th-Grid |
snarescience.com |
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Right hand Tap - Accent
Left Hand 16th-Grid
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Right Hand Accent - Tap |
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Left Hand Inverted 16th-Grid |
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Right Hand Tap - Accent
Left Hand Inverted 16th-Grid
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3
Right Hand "One-ee-and"
Left Hand 16th-Grid
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Right Hand "One-ee-and"
Left Hand Inverted 16th-Grid
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4
Right Hand "One---and-ah"
Left Hand 16th-Grid
R
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Right Hand "One-and-ah"
Left Hand Inverted 16th-Grid
R
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