What's a drag
dt king
a practice pad. I'm down to the part that calls for a drag, but I'm not
sure exactly what a drag is suppose to do. I'm supposing you're just
supposed to slide the tip across the suface, but what do I know? Could you
drop me a clue?
dtk
13612(Bill Ray)
A drag is having too many trolls in your NG- (kidding.)
What it is is two "grace notes" followed by downstroke. Play the two small
notes (grace notes) from a low stick height, and come from up higher with
the downstroke. Remember to alternate.
--
- -
Best Regards,
13612
Bill Ray
www.billraydrums.com
Proud father to Xairan Aedn Ray
7/23/00
" Well, you know, drums are conversational. You're just trying to keep the
conversation interesting. If you're constantly thinking about what you're
saying, and not listening, then it suffers."
"dt king" <dtk...@LezToys.com> wrote in message
news:91nl5.1010$D4.8...@petpeeve.ziplink.net...
Az hosers
Seriously I hav alway used the Drag roll---or somtin=mes refered to as a 3 Note
Ruff
Lead 2 notes are ghost notes
(L)(L) R You could place a drag on any prtion of music you deem fit
DDSD
Drumguru
What is a three stroke roll? Well, it ain't in the traditional
(incomplete) list of rudiments.
It's a "jazz" roll, so to speak:
the downbeat accented roll would be "tap diddle" in triplet meter, Rll
or Lrr
the upbeat accented roll would be "Diddle tap" in triplet meter, rrL, or
llR
a combination of these two RllrrL would be a six stroke roll played in
triplet meter. Very useful stickings.
--
George Lawrence
Drumset artist, teacher, author
Nashville TN
http://www.drumguru.com
_________________________________________________
«¤+¥«¤+§«¤+¥«¤+§«¤+¥«¤+«¤+¥«¤+§«¤+¥«¤+§«¤+¥«¤+§«¤
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
"If thine enemy wrong thee, buy each of
his children a drum." Chinese proverb
_________________________________________________
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¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Michel
"13612\(Bill Ray\)" <bill@*REMOVETHIS*billraydrums.com> wrote:
>
> What it is is two "grace notes" followed by downstroke. Play the two
> small notes (grace notes) from a low stick height, and come from up
> higher with the downstroke. Remember to alternate.
>
You mean I've been dressing in these silly women clothes for nothing??!
:-)
--
Michel
-- We get old too soon and smart too late --
Sent via Deja.com http://www.deja.com/
Before you buy.
Mell Csicsila
<dtk...@LezToys.com> wrote:
> The back of my office has a list of rudiments tacked to the wall, sticks
> and
> a practice pad. I'm down to the part that calls for a drag, but I'm not
> sure exactly what a drag is suppose to do. I'm supposing you're just
> supposed to slide the tip across the suface, but what do I know? Could
> you
> drop me a clue?
It's an ornament, not unlike the flam. Instead of having one grace note
(as the flam does), it has two. I wouldn't 'slide' the stick across the
head, that's kind of a bad habit in that it will slow you down. Use the
same double bounce type stroke that you use for an open roll. Just
remember that the grace notes are supposed to be softer.
I hope this helps,
--
Mell D. Csicsila
email: mcsicsil (at) kent.edu
web: http://home.sprintmail.com/~mdcsicsila
j-long
speed (or, in the event you have a conductor's preference) the two "grace
notes" are played open or closed, that is, played as two discrete grace
notes, or multiple bounce. Some might say that if it is a multiple or
"crushed" against the principle note, it is then not a "drag." I for one
am glad the rudiments are often left to interpretation.
JWLong
--
"dt king" <dtk...@LezToys.com> wrote in message
news:91nl5.1010$D4.8...@petpeeve.ziplink.net...
> The back of my office has a list of rudiments tacked to the wall, sticks
and
> a practice pad. I'm down to the part that calls for a drag, but I'm not
> sure exactly what a drag is suppose to do. I'm supposing you're just
> supposed to slide the tip across the suface, but what do I know? Could
you
> drop me a clue?
>
> dtk
>
>
>
David
If I'm correct, you're talking about a "ruff." A drag has the two notes
diddled after an accent.
Like R ll r l R ll r l where you're playing sixteenths and the "e" is in
32's. Actually I think we're both right as I've heard what I'm calling a
ruff called both.
Peace,
Dave
Mell Csicsila wrote in message ...
Dan Radin
32nds and a 16th note, lacking accent. A ruff is a primary note, preceeded by
two grace note, which are not metered. They are also GRACE notes, so they are
not played with the same intensity or volume.
------------------------------------------------------
-Dan Radin
Rutgers University
Mason Gross School of the Arts
FAQ: http://www.rmmp.net
Drumguru
We had a long thread, about a year ago I think, about the ruff and came
to the general agreement, based on historical evidence, that ruffs are
single stroke ornaments or appogiaturas. Drags use double strokes.
--
Robert Schuh
--
Robert Schuh
"Everything that elevates an individual above the herd and intimidates
the neighbour is henceforth called evil; and the fair, modest, submissive
and conforming mentality, the mediocrity of desires attains moral
designations and
honors" - Nietzsche
"The meek shall inherit nothing" - Zappa
j-long
Corps popularity brought that one about IMO. There was (is?) a trend to
make what is played EXACTLY what is written. See discussions ad infinitum
on the "correct" way to notate swing eighths.
JWLong
--
"Dan Radin" <dir...@aol.comNOSPAM> wrote in message
news:20000813134309...@ng-mb1.aol.com...
Drumguru
1942 "All short single stroke rolls are known as ruffs" - Henry Adler in
Buddy Rich's Modern Interpretation of Snare Drum rudiments (which was,
of course, Adler's book with Buddy's picture on the front. Buddy
couldn't read music at the time).
There all sorts of ruffs and all sorts of drags; metered, unmetered,
etc. What separates them is their sticking, not their application.
Ruffs use single strokes before or after an accented note.
Drags use double strokes before or after an accented note.
Any definition that says a ruff is a drag or a drag is a ruff has passed
down through books and teachers in error, and contradicts the
onomatopoeic nature of the rudiments as created by the Military drummers
two centuries ago. I have talked with the old guys since I first started
playing drums as a kid (Arsenault clinic in 1963, Morello clinic in
1966) and this is what I learned in person from them.
I consider Mr. Adler's definitions of the ruffs, half drags (metered),
single drags, full drag, and double drag to be the best explanation of
the rudiments and the most historically accurate one. He was in the
perfect place and of the right age, talent, experience, profession and
education to have passed on the straght poop handed down from the 19th
century military drummers and teachers like Strube (of lesson #25 fame),
Bruce and Emmett, Sousa, Moeller, and on through the theatre drummers.
The ruff and the drag were always two entirely different stickings,
otherwise why the two names? They were confused in definition only and
I think it was Wm. Ludwig's fault for perpetuating the confusion in
whatever that messy list was that purportedly came from the first NARD
meeting. It was an ad hoc and probably drunk affair at best, called to
settle an argument, not to document drumming theory. Adler's book
corrected the bureaucratic NARD list and still makes nonsense of the
incorrect and ill tended to rudiment list that PASIC still espouses.
If any of you want a good book that makes sense of the rudimental
approach, this book is it. Very logically written.
I am starting a collection of historic drumming instruction books and
all the ones I've seen so far support my opinion.
George Lawrence
Dan Radin wrote:
>
> In all actually, a drag is a measured ruff. Generaly played with a paiir of
> 32nds and a 16th note, lacking accent. A ruff is a primary note, preceeded by
> two grace note, which are not metered. They are also GRACE notes, so they are
> not played with the same intensity or volume.
> ------------------------------------------------------
> -Dan Radin
> Rutgers University
> Mason Gross School of the Arts
> FAQ: http://www.rmmp.net
--
By-Tor IG-88
this......(LL) R,(RR) L, alternating etc. Look @ your poster again &
look for the Ratamacue, or the triple Rat, it starts with 2 of these
"Drags" (LL) R (LL) R (LL)RLRL, then starting with the right hand
etc. One more thing, the (LL) starts on the up beat or the "and" of the
beat. Hope this serves you well or any one else, keep on bangin`.
Leif Madsen
Well.. not for NOTHING. I'm sure you liked it a little bit :)
On Sun, 13 Aug 2000 12:18:23 GMT, Michel <md...@my-deja.com> wrote:
>In article <lFnl5.51124$a01.4...@news1.rdc1.sdca.home.com>,
> "13612\(Bill Ray\)" <bill@*REMOVETHIS*billraydrums.com> wrote:
>>
>> What it is is two "grace notes" followed by downstroke. Play the two
>> small notes (grace notes) from a low stick height, and come from up
>> higher with the downstroke. Remember to alternate.
>>
>
>You mean I've been dressing in these silly women clothes for nothing??!
>:-)
--
Leif Madsen
"Jesus Christ, why don't you come save my life.
Open my eyes and blind me with your light and with
your lies."
13612(Bill Ray)
LRL ) with the 1st note dragged, then the 2nd, then the 3rd.
--
- -
Best Regards,
13612
Bill Ray
www.billraydrums.com
Proud father to Xairan Aedn Ray
7/23/00
" Well, you know, drums are conversational. You're just trying to keep the
conversation interesting. If you're constantly thinking about what you're
saying, and not listening, then it suffers."
"By-Tor IG-88" <Rocina...@webtv.net> wrote in message
news:25466-39...@storefull-264.iap.bryant.webtv.net...
Michel
lma...@mnsi.net (Leif Madsen) wrote:
> HAHA!
> Well.. not for NOTHING. I'm sure you liked it a little bit :)
>
Well ok maybe I did, but I couldn't stand those g-strings up my butt ;-)
Dan Radin
>single stroke ornaments or appogiaturas
George-
appogiaturas???
Drumguru
Italian word appogiatura (leaning, falling, ornamental note, usually a
lower second in melodic instruments) known here in Nashvile as the Floyd
Cramer note :-). Even more accurate but out of common usage would be
acciaccatura (grace note), which has been used to describe several
different ornaments; a dissonant chord cluster which was released
immediately leaving the normal note to continue, a rolled chord cluster
(French), and two or three short grace notes played at almost the same
time as the primary note. Another term that we borrowed the notation
from is the french Arpegement figure which utilizes a diagonal slash
across the small ornamental note.
GL
--
James C. Nevermann
> look for the Ratamacue, or the triple Rat, it starts with 2 of these
> "Drags" (LL) R (LL) R (LL)RLRL, then starting with the right hand
> etc.
> One more thing, the (LL) starts on the up beat or the "and" of the
> beat.
Ummm... not the `and'.
With Ratamacues at say 124-132 BPM, the LL or RR grace notes are two
32nd notes occuring on the last 16th count prior to the first note of
the triplet. That's what makes Ratamacues opening with those two 32nds
an impractical rudiment to start a phrase with when more than one
drummer is playing... provided they're to be played clean. The
variables in this `impracticality' is how tight/loose the heads are:
rope tension vs `Formica' tight and what the instructor/player is used
to or needs to produce.
With [what used to be called] Lesson 25s, the drag is still two 32nd
notes, but occurs on the second 16th note of what is nothing more than
four 16ths with the second turned into two 32nds. The same
relationship happens with Drag Pradiddles.
Traditional notation --which I place before the Ludwig "Rudimental
Contest Series" of solos and quartets in 1966 or 67 [Mitch Markovitch
pieces such as "Tornado" and "Four Horsemen" for instance]-- were
notated in a less precise style: open to various interpretations.
Contemporary marching percussion notation is significantly more
accurate.
Precise notation for precise percussion.
--
Jim Nevermann [usual disclaimers]
Joey
...Joey
"James C. Nevermann" <jcn...@qtip.ca.boeing.com> wrote in message
news:3998493E...@qtip.ca.boeing.com...
dt king
news:8n7hik$v2n$1...@nnrp1.deja.com...
>
> Well ok maybe I did, but I couldn't stand those g-strings up my butt ;-)
From what I've seen for Blink 182, No Doubt and Red Hot Chili Peppers --
that's become the typical drummers uniform. I've decided I may buy a used
set, but I'm getting the throne new.
What ever happened to the shiny black suit and tie?
Thanks to all for the insights on drags. Some of it is beyond my current
level of playing, but you've given me some more to work up to.
dtk
j-long
appogiatura in a non-harmonic tone that occurs on a beat approached from a
leap and is resolved after that beat. In the literal sense though he might
have something there. The word means "leaning against" I suppose it's not
too much of a stretch to imagine ruffs"leaning" against the beat.
JWLong
--
"Dan Radin" <dir...@aol.comNOSPAM> wrote in message
news:20000813213646...@ng-fr1.aol.com...
Jay Epstein
Thanks again for your consumate analysis on this subject, & for
having the interest & cajones to stand up & rewrite some
questionable history. When I was a kid, this was always so damn
confusing, & still is for that matter. One terrific guiding beacon,
however is YOUR BOOK! May I suggest for other shriners who have any
interest at all in Prime Rudiment conceptualization, man, do
yourself an enlightening favor & get George Lawrence's "Sticking
Theory - The Prime Rudiments". This is like the desert island book
for a lifetime where the mathematical logic is just so elegant, but
the practicality of application to drumset is the real gratifying
payoff!
Thanks again for changing the bulb to a high wattage one, after
running up all those stairs to the top of the lighhouse.
Jay
"Sometimes it takes a long time to sound like yourself."-Miles Davis
Drumguru
decades. I can't even remember which textbook I read it in at North
Texas State. The last time I heard someone actually use it in the real
world was in the early eighties by an Italian conductor. Drum terms
borrow from Italian musical terms all the time; for example the trill or
trillo notation above a note to signify a roll, etc. You are correct
about the beat placement of the dissonant note as it occured in
harpsichord and piano music in some countries. In drums it usually
occurs before the beat. Music notation is like language; always
changing.
--
DD
guitar player's girlfriend is the "singer/percussionist" (ie. occasionally
shakes a tambourine or pounds a mystery rhythm on a cowbell)
Now, THAT's a drag!
Drumguru
desert island with this stuff. My sticking theory book is not an easy
read, is it? It's more of a technical manual for discovering all the
possible stickings that exist and some basic rhythmic applications of
them. The rudimental system only contains a very limited number of
stickings and that's why I documented thhis, so that you can see what
the rudimental system left out.Books these days are somewhat dumbed down
to make them enjoyable
My agenda is only to make common sense of the confusing drum instruction
traditions.
When you ask ten piano players or ten trumpet players to define the
mathematical and harmonic theory of their instruments you get the same
answers from all of them (scales, modes, chords and inversions, circle
of fiths, etc.). If you ask ten educated drummers to explain the theory
of the workings of their instrument (the sticks) you get ten different
answers. They can't even agree on what this is: RLR , or this RLLR , or
this RLLRLL , or this RLRLL , or this: B (both).
This one especially (both), since there only three things we can
essentially do with sticks; hit the left one , hit the right one, hit
both of them at the same time, everything else being a combination or
variation of those three prime stickings. So, we don't even have a name
for one of the basic elements of stick drumming (and, not it's not a
flat flam. Any type of flam would be a variation or ornament of a both
sticking
I'm trying to define some of this without using omomatapoeic names,
which is why I am so engrossed in thehistory of music notation and
terms.
The Rudiment system as it stands now is not theory at all. If the
analogy to scales were actually applied, we'd be missing a lot of minor
and major scales :-) It is a genre that constains a little theory, a few
stickings, a few rhythms. It is a terrible way to learn how to play the
drum.
I'm going to post the forward of my book and see if that stirs up the
hornet's nest. :-)
Thanks again, Jay.
--
Drumguru
relevant to this thread and also is relevant to the "Flammed Crusader"
threads of last year. This is your brain on drums. :-)
I am planning on displaying the music notation of these prime rudiment
stickings and permutations on my website at some point.
Thank you for indulging me. Forgive the Word formatting snafus.
ACKNOWLEDGEMENTS
Music notation is like language. Sometimes it develops randomly. The
African, Indian, and Third World traditions of drumming techniques are
so much more advanced than the European and Western traditions because
of their early use of multiple drums by one player. Our multiple drum
set up, the drumset, is only eighty years old at this writing. I hope
this work contributes to the development of the drumset, the drummers,
and the art of drumming.
I would like to thank my biggest fan, my wonderful wife Nancy; my
children Jennifer and Paul (my favorite drummer); all of my band
directors, Ferrell Lunceford, David Young, Calvin Smith, and Roger
Dollarhide; my private teachers Sonny Hill and John Gates; my colleagues
Ken Austin, Steve Vines, Gregg Lohman, and Eric Stuer for their support
and assistance.
This book is dedicated to my parents, Reverend George Roy Lawrence Jr.
and Rosemary Stewart Lawrence. My father wanted me to be a preacher.
My mother, a teacher, wanted me to be a writer. I wanted to be a
drummer. So I preach, teach, and write about drums.
INTRODUCTION
"Drum Rudiments are fundamental rhythmic patterns which will aid in
developing basic techniques for drum playing. They are not a complete
system, or method for teaching drums, but they do supply us with
material for hand development and acquaint us with short rhythmic
patterns which will be found in drum music." - Haskell Harr, in the
foreword of "Drum Method, book two", published in 1938.
I grew up listening to and trying to keep up with the Haskell Harr
record album of the National Association Rudimental Drummers (N.A.R.D.)
26 Drum Rudiments. I was trained as a rudimental drummer by my band
directors and private teacher in the 1960's, which is evident in my
drumset playing. But I had always wondered why the rudimental system
was not complete and why no one had ever bothered to complete it. The
lack of a clear cataloging of drumming principles did not hamper me in
my progress on the drumset because I was, fortunately, a "natural"
drummer and intuitively figured out the logic of stickings and rhythms.
Even as a beginner, I realized that there were certain fundamental
stickings and rhythms used on the drumset that could not be explained
with the 26 rudiments (the official count in 1966). I took it for
granted that this was the status quo and made up my own unwritten
supplemental system to account for the "missing" rudiments, as did many
others.
Up until this year, 1999, I have taught and written within the confines
of the traditional rudimental system. In 1998, I embarked upon an
attempt to "rewrite" and "complete" the rudimental system. I knew that
the flat flam, or simultaneous stroke, was missing and that there was no
rudimental
Ó 1999 George Lawrence 1
notation symbol for it; a fundamental flaw in the process of trying to
learn drumset from rudimental notation. Also, there were rudiment
inversions, variations, and permutations that did not have "names," and
I was trying to name them all. There were also rudiments that I thought
were outdated and useless like Lesson # 25 and the Flamacue, rudiments
that were just ad hoc combinations of other rudiments, and rudiments
that were more phrases than rudiments. I was sure I was headed in the
right direction.
At the same time I was updating my beginning drumset book of which I had
sold several thousand "Kinko's" copies. While trying to make a more
orderly arrangement of the 16th note paradiddle and funk groove
permutations in that book, I looked up the definition of the word
"permutation" in Webster's dictionary and found the "Rosetta stone"
that was needed to complete the rudiments. This permutation theory
worked for the drumset grooves, but it would not work in any of the flam
rudiments because of that annoying archaic flam notation. For years I
have used the word "both" for flam in transposing flam rudiments to two
drumset instruments. So, I tried leaving the little grace notes off the
flam and denoting it with a B sticking letter. This eliminated having
to deal with a left and a right flam. Eureka! This was the "missing
link" between one line and two line notation! That worked so I
contrived a device to differentiate the flat flams from the regular
notes and traditional flams; a regular notehead but with two stems.
With these notation tools and a new discovery process underway, I
decided to leave the traditional rudiments alone and dig underneath them
for the answers. What I unearthed and classified is a unifying theory
of all sticking patterns for snare drum or drum set that will allow us
to learn and perform with a more practical and thorough understanding of
the basic elements of our art.
A little history lesson: From the turn of the 20th century on, during
the transition from military snare drum technique to drumset technique,
a change in the underlying principles of western stick drumming
occurred. Snare drum sticking had traditionally been based on only two
of the three prime stickings: right and left. The third sticking, both,
was left out because it was useless and redundant on a single drum.
Hitting the drum with both sticks at exactly the same time and with the
same strokes produced no useful or different or louder tone than hitting
with one stick. It actually produced a higher harmonic on the drumhead,
a choked sound, that was undesirable on the instruments of the time.
Thus, the preference of the flam, the two sticks hitting at almost the
same time, one softer and slightly preceding the other louder stick,
which produced a desirable and different tone. The flam was considered
an essential rudiment, and its written notation was borrowed from the
appoggiatura (leaning note) and the acciaccatura (grace note). As the
exception to the rule, the flat flam (both) was seldom used, and then
only as an audible or visual "effect", or to occasionally strike two
sounds simultaneously (drumhead and rim, drum and cymbal, two effect
instruments, etc.). a standard written notation symbol for this never
evolved.
Enter the drumset (1920s). The both sticking became a common technique
on this new instrument when multi-limb rhythms were introduced via
Dixieland jazz. The hands played intentionally separate rhythms on
separate instruments, so the stickings overlapped frequently, creating
more simultaneous strokes. This instrument necessitated the inclusion
of some sort of flat flam rudiment notation not only for itself but also
for its principal component, the snare drum, as written in one line
notation. In one of the first drumset instruction books, Dixieland
Drumming Instruction (WFL
2 Ó 1999 George Lawrence
1937), Ray Bauduc and Tommy Thomas came extremely close to creating a
both note symbol. They did use the B sticking letter on one page, but
the device went unnoticed largely because of the prevailing rudimental
point of view (see "The Rudimental Sway" on page 106).
The failure to create a simple symbol for the both sticking in one line
notation has kept us learning an instrument through the limited
vocabulary of a particular style: military rudimental snare drum. It
has kept us from understanding the complete basic principles of drumming
with two sticks (and
four limbs). There is a larger and more structured order of common
elements underlying the traditional rudiments and drumset patterns that
has never been documented until now. It is so very
close to music harmony and theory that it is really rather embarassing
that we drummers took so long to reason this out.
The way I arrived at this new way of understanding stickings was by
separating the common elements of the traditional rudiments into their
three respective camps: stickings, rhythms, and strokes. When I looked
at each element without the influence of the other two, it became clear
that there were some separate entities, prime stickings and prime
rhythms, from which all other stickings and rhythms emanated. All
stickings of any kind can be expressed in prime stickings, and all
rhythms of any kind can be expressed in prime rhythms. With that set
forth as a premise, it was a matter of laying out a table that would
clearly show the relationships between these prime elements and their
derivative combinations and permutations. I invented a few terms and
symbols for this treatise, and I hope that they stand the test of time
and enter into the lingo of drumming. I also defined the hierarchy of
the prime stickings and prime permutations much like the long forgotten
man who decided which piano key would be "A". There were a few words
commonly used in drumming that needed defining also, so I deferred to
Mr. Webster and the Harvard Concise Dictionary of Music. There are four
other books in this series that deal with rhythm, drumset application,
rolls, and drumset styles from this new point of view.
The prime rudiments in chapter one can be understood without my
explanations. The applications in the other chapters are just examples
of ways in which the prime rudiments can be practiced and used. This is
by no means an exhaustive study. This is my presentation of a practical
tool, instigated by my insatiably curious students. I wanted my answers
to their questions to be based on something more complete and clear than
the traditional rudiment system. When you ask any number of drummers
what the rudiments are, you will get many differing answers, despite the
existence of rudimental organizations. This does not happen when you
ask piano players about scales and the circle of fifths. So, forgive me
if the tone of this book is a little pedantic and definition oriented,
but I thought it was about time that we drummers had a more
sophisticated and logical language with which to communicate and explain
our craft. Hopefully this will lay the groundwork for further
exploration by others.
Ó 1999 George Lawrence 3
TABLE OF CONTENTS
Chapter One Sticking Theory
page 5
Definitions page 5
How it works page 7
Prime Rudiments page 8
Prime Rudiment permutations page 9
Chapter Two Sticking and Reading Transitions page 13
Chapter Three Rhythm Variations of Prime Rudiments page 22
Chapter Four Traditional and Prime Rudiments page 95
Anatomy of a Traditional Rudiment page 100
The "Missing" Rudiments page 102
Prime Chopbusters page 104
New Notation for prime Rudiments page 105
The Rudimental Sway page 106
4 Ó 1999 George Lawrence
CHAPTER 1: STICKING THEORY
The following definitions, explanations and lists of stickings are the
language and math with which we can begin to understand the depth of
drumming and drumset theory. These stickings are the raw material
which can be applied with different strokes in different rhythms and
nuances on the different instruments of the drumset. It is as important
to learn how they work in the abstract as it is to know how to execute
them in the concrete.
GENERAL DEFINITIONS
ARRANGE-To put in order.
ELEMENT-One of the simplest parts into which something can be divided,
or a component of a composite whole. The simplest and most basic parts
of a branch of knowledge.
FUNDAMENTAL-The units in terms of which all other units, derived, can be
expressed. The lowest tone in a harmonic series.
HIERARCHY-Any arrangement of principles, things, etc., in an ascending
or descending order.
PERMUTATION-Any of the different arrangements in linear order that can
be made of a given set of objects or events.
PRIME-Original. Fundamental. In music, the fundamental note in a
harmonic series.
PRINCIPLE-A law of nature as formulated and accepted by the mind.
RHYTHM-The course of events.
RUDIMENT-A basic principle of a subject. The merest beginning of
something capable of being developed. Root. Element.
STICKING-In music, the order in which sticks hit a drum.
STROKE-In music, a movement made in keeping time. (The physical action
of hitting a drum).
THEORY-The general principles drawn from any body of facts. A group of
mathematical theorems presenting a comprehensive and systematic view of
a subject. Music theory is the abstract principles embodied in music
and the sounds of which it consists.
Ó1999 George Lawrence 5
DRUMMING DEFINITIONS
DRUM RUDIMENTS-A general name for all the combinations of stickings,
strokes, and short rhythms. They include the traditional military snare
drum rudiments, the hybrid drum corps rudiments, drumset rudiments,
Scottish pipe band rudiments, the Swiss rudiments, etc. The term "drum
rudiments" has come to mean more than just the basic principles of
drumming. It is closely associated with the "rudimental" style of drum
corps playing.
PRIME RUDIMENTS-The fundamental rudiments in which all other rudiments,
derived, can be expressed. The basic principles of drumming with two
sticks. The combinations of prime stickings and prime rhythms. The
elements of all other rudiments and drumming patterns can be found in
the prime rudiments.
STICKING-The order and fashion in which sticks hit a drum. Also the
arbitrary symbols representing the sticking (R, L, B, F, etc.).
PRIME STICKINGS-The fundamental stickings in which all other stickings,
derived, can be expressed. There are only three; R--the Right stick
hitting; L--the Left stick hitting; and B--Both sticks hitting
simultaneously. All other stickings are combinations of these three
prime stickings.
PRIME RHYTHM--The fundamental rhythms in which all other rhythms,
derived, can be expressed. All other rhythms are combinations of these
rhythms. This subject is explained in book two of this series, Rhythm
Theory.
STICK STROKE-Stick motion. The physical action of hitting an instrument
with a drumstick. There are many stick strokes, such as full stroke,
tap stroke, bounce stroke, buzz stroke, up stroke, down stroke, arm
stroke, wrist stroke, finger stroke, single stroke, double stroke,
triple stroke, ghosted stroke, dead stroke, rim shot, etc. These are
all names of physical movements. A stick stroke is not a sticking.
RHYTHMICALLY AMBIGUOUS -Having more than one rhythm. Prime Rudiments
are rhythmically ambiguous and can be played in more than one rhythm.
STICKING GROUPS-The number of stick hits. Stated as the number of hits
in one hand and the number of hits in the other (1,1: 2,3: 3,4:
etc.). Not the number of notes in a rudiment, since a note can have
more than one stick hitting.
PERMUTATION--The variations or rearrangements of the components of prime
rudiments, traditional rudiments, and other drumming patterns. The
rhythm or the sticking or both can be permutated (shifted, or starting
in a different place).
6 Ó 1999 George Lawrence
HOW IT WORKS
· Aspects of traditional rudiments such as rhythm, stroke types, and
rote onomatopoeic names, are eliminated, leaving only stickings to be
sorted and arranged as events or objects.
· There are three prime stickings: Both, Right, and Left.
· The combinations and multiple combinations of these prime stickings
are the prime rudiments.
· Each prime rudiment is grouped by the number of stick hits in each
hand. These are called sticking groups. In this book, the stickings
have been carried out to 3 in one hand and 3 in the other (3,3),
resulting in 26 prime rudiments. They can be carried out to infinity,
but past 3,3 it is easier to think of them as combinations of the
smaller groupings.
· The linear rearrangement of the sticking events of a prime rudiment is
called a permutation. The order of these permutation must have a
hierarchy just as chord inversions must be ordered.
· My permutation hierarchy for the hands is Both, Right, Left, . The
hierarchy for the number of notes in a grouping is smallest to largest.
These are the priorities in listing and arranging all these events.
· So, the Prime Rudiments list on the following page (8) does not
contain all the variations (permutations) of each sticking, just the
first variation of each sticking. The Prime Rudiment Permutations list
(page 9) lists all of the permutations of the Prime Rudiments that can
be permutated. Some can't be permutated: namely, the one handed
groupings and those prime rudiments that consist of all both notes.
· All prime rudiments are rhythmically ambiguous. In other words, a
prime rudiment does not have a particular rhythm in which it must be
played. That is determined by the player, the composer, the style,
etc. Just like the intervals and fingerings of a musical scale, the
patterns and stickings of the prime rudiments can be played in whatever
rhythm and with whatever stroke is necessary for the music. They are
all independent yet integral parts of the principles of stick drumming.
At the moment a prime rudiment is played in a particular rhythm, it
becomes a musical event (the sticking for flams is the same as for
single stroke rolls and for single stroke fours: alternating sticking.
What distinguishes them are their musicality; rhythm, dynamics, usage,
length, frequency, etc.). Since a prime rudiment must be written in
some sort of rhythm, though, I have chosen beamed eighth notes for
their visual clarity in this book.
· As a first step, play each prime rudiment as written in steady eighth
notes repeatedly using the first sticking, then the reverse sticking,
then alternating between the two stickings. Also play them each in
duple and triple meter. A simple way to do this is to add one eighth
note rest to the 2 and 3 note figures, and two eighth note rests to the
4 and 6 note figures. For the five note figures, try playing them in
five as written, and add one eighth note rest for triple meter, and
three eighth note rests for duple meter.
Ó 1999 George Lawrence
James C. Nevermann
>
> This explanation has burned my retinas.
OK, maybe this will clarify my verbose explanation a bit.
Look at the fourth line from these exercise examples in Rick Beckham's
`Rudimental Drumming' website.
http://www.fastlane.net/~rbeckham/lancer3.html
The first three counts show two Ratamacues and a Lesson 25 [each with
flams, of course] in contemporary notation. In all three instances,
the little diagonal slash through the second 16th note of the
Ratamacues and Lesson 25 converts the single 16th note into TWO 32nd
notes.
The nice thing about this style of notation is that you can
immediately see both the underlying basic rhythms that make up the
more complex ones: 16th note combinations as well as the same
combinations with the converted 32nd notes. There's only one way they
can be played as notated.
Mark Talbott
Did you ever write the book for teaching reading skills to the mature
drummer?
"Drumguru" <drum...@home.com> wrote in message
news:3998841F...@home.com...
Drumguru
procedure for tambourine drivers? :-)
--
Drumguru
invite), remember that the premise here is to pretend like the
traditional rudiments never existed and you have to classify the essence
of stick drumming without using any traditional rudimental nomenclature
or terms other than those which can be found in a standard dictionary.
GL
Drumguru
roll" being taught formally at the turn of the century. This is one of
the ones Wm Ludwig decided to leave out of the NARD rudiment. He called
it impractical. This was essentially an open rhythmic drag; llR, (rrL)
or Rll, (Lrr).
If you think about it, this falls into the bare esentials category of
drumming principles:
Single strokes RLRLRLRLRLR
Double Strokes RRLLRRLLRRLL
and then the first obvious combinations of those;
RLL, LRR, and the two other permutations of each of them
and RLRR, LRLL and the three other permutations each of them
I teach the three stroke roll every day and call it that. In duple and
triple meter. :-) Maybe the triple one should be called the Jay Epstein
roll! "Drag" is outdated. So is "ruff".
GL
dt king
> A drag is when you get to the gig you're subbing on and find out that the
> guitar player's girlfriend is the "singer/percussionist" (ie. occasionally
> shakes a tambourine or pounds a mystery rhythm on a cowbell)
>
> Now, THAT's a drag!
I suspect there should be a rule the a band doesn't get a "Yoko" until after
they also have added both a Hammond player and a small brass section.
dtk
Drumguru
it. I've learned a few things over the last year and a half that I've
been seriously writing.
1. It takes a long time, a lot of money and it ain't cheap to publish
and promote your own books
2. Most publishers will rewrite/edit your book so typesetting is wasted
effort until after the edited draft.
3. Almost every drum book has been written and it's best not to slave
over a book until you know it's going to be published.
Thanks for asking.
Dan Radin
usual well-thought out staements AND backing them up. I'd be rebutting all the
way, but I sliced my right thumb open at work today, so typing is rough. I'll
cathc up with you guys on this in a couple days.
Played a rehearsal with gauze and gloves tonight. fun fun fun!
Michel
Drumguru <drum...@home.com> wrote:
> I'm posting this intro to a book I wrote last year since it's somewhat
> relevant to this thread and also is relevant to the "Flammed Crusader"
> threads of last year. This is your brain on drums. :-)
George,
very interesting! Where can I get a copy of that (and other) book of
yours?
James C. Nevermann
> roll! "Drag" is outdated. So is "ruff".
In contemporary marching percussion, certainly, those words are
anachronisms.
Joey
2. No extra paycheck split because the bass/guitar/key player's girlfriend
dances on stage all night. (amendment to the 'Yoko' clause)
...Joey
"dt king" <dtk...@LezToys.com> wrote in message
news:dC0m5.1173$D4.9...@petpeeve.ziplink.net...
> "DD" <do...@ismi.net> wrote in message news:3998...@news.ismi.net...
> > A drag is when you get to the gig you're subbing on and find out that
the
> > guitar player's girlfriend is the "singer/percussionist" (ie.
occasionally
> > shakes a tambourine or pounds a mystery rhythm on a cowbell)
> >
> > Now, THAT's a drag!
>
>1. I suspect there should be a rule the a band doesn't get a "Yoko" until
Jazzmanian
hire me !!!
-----------------------------------------------------------
Got questions? Get answers over the phone at Keen.com.
Up to 100 minutes free!
http://www.keen.com
Drumguru
hindquarters and thus forgive her musical trespasses on tambour.
#4 Thou shalt not give cues to the guitar player's betrothed so that
she doth start her wailing at the right time. Yea, even though she doth
enter on her own into the ensemble correctly, shall she still sing
flatly and annoyingly and winkingly. This is an affront to the Lord (thy
soundman) and he will punish you justly by making her louder in thy
monitor.
Joey wrote:
>
> Great, your rule will be #1.
>
> 2. No extra paycheck split because the bass/guitar/key player's girlfriend
> dances on stage all night. (amendment to the 'Yoko' clause)
>
> ...Joey
>
> "dt king" <dtk...@LezToys.com> wrote in message
> news:dC0m5.1173$D4.9...@petpeeve.ziplink.net...
> > "DD" <do...@ismi.net> wrote in message news:3998...@news.ismi.net...
> > > A drag is when you get to the gig you're subbing on and find out that
> the
> > > guitar player's girlfriend is the "singer/percussionist" (ie.
> occasionally
> > > shakes a tambourine or pounds a mystery rhythm on a cowbell)
> > >
> > > Now, THAT's a drag!
> >
> >1. I suspect there should be a rule the a band doesn't get a "Yoko" until
> after
> > they also have added both a Hammond player and a small brass section.
> >
> > dtk
> >
> >
--
Tyler McGraw
all the TROLL warfare it got missed. (Phew what is that smell?!)
Anyway a couple recs for band agreements;
SAMPLE BAND AGREEMENT
The "11" Commandments:
1. Thou shalt Not play “Stairway” or “Freebird”, ever! (nuff
said)
2. There shall be no stupid people among you. (“Dude, when I
played with [insert hack band name here] we did [enter bar band
standard here] and people loved it…”)
3. Thou shalt have no other band leaders before me.
4. Thy total drums shall not exceed 2 cubits in length, or the
drummers ability to carry same.
5. He that doth continue to play after the song ends shall be
slapped on the forehead. “Whittling” between songs, shall have
no place among you. (in the case of multiple infractions, a 2x4,
shall be used)
6. Thou shalt not be heard for thy greatness in volume. This is
folly, for others are louder and I hear them not. (Level 10,
while theoretically possible, shall never be used by man during
rehearsals.)
7. Thou shalt shower regularly, and use a strong deodorant.
(cleanliness is next to godliness)
8. Thou shalt not lay with the uncircumcised. (Just because you
play the drums doesn’t mean the babe in the front row want to
have your love child)
9. Thou shalt not covet thy neighbors; gear, car, house,
rehearsal space, PA, wife, girlfriend, dog, cat, Swimsuit Issue
or anything like unto it.
10. Thou shalt punish tardiness by slow and painful amputations.
11. Thou shalt not play with the heathens or those who cannot
keep time. (commonly referred to as the Yoko Ono clause))
Relevant paragraph from my actual Band Agreement;
Yoko Ono & David Lee Roth Clauses
Band Member agrees not to introduce outside persons into the
Band ethos, including but not limited to; relations, significant
others, friends, boyfriends, girlfriends, wives, husbands,
acquaintance or others into rehearsals, performances, or other
official Band activities without the unanimous agreement of the
other Band Members and the Band Leader.
Band Member agrees to be respectful of other Band Members
relationships outside of the Band ethos, and not engage in
conduct that would otherwise impair the effectiveness of the
creative process or cohesiveness of the Band as a unit. (i.e. no
unauthorized relationships with other Band Members wives,
girlfriends, boyfriends et al.)
Joey
of much wine with regularity, thou shalt not encourage her to "show yer
tits!"
:yet again
...Joey
"Drumguru" <drum...@home.com> wrote in message
news:3999679F...@home.com...
> #3. Thou shalt not lust after thy guitar player's betrothed's
> hindquarters and thus forgive her musical trespasses on tambour.
>
> #4 Thou shalt not give cues to the guitar player's betrothed so that
> she doth start her wailing at the right time. Yea, even though she doth
> enter on her own into the ensemble correctly, shall she still sing
> flatly and annoyingly and winkingly. This is an affront to the Lord (thy
> soundman) and he will punish you justly by making her louder in thy
> monitor.
>
> Joey wrote:
> >
> > Great, your rule will be #1.
> >
> > 2. No extra paycheck split because the bass/guitar/key player's
girlfriend
> > dances on stage all night. (amendment to the 'Yoko' clause)
> >
> > ...Joey
> >
> > "dt king" <dtk...@LezToys.com> wrote in message
> > news:dC0m5.1173$D4.9...@petpeeve.ziplink.net...
> > > "DD" <do...@ismi.net> wrote in message news:3998...@news.ismi.net...
> > > > A drag is when you get to the gig you're subbing on and find out
that
> > the
> > > > guitar player's girlfriend is the "singer/percussionist" (ie.
> > occasionally
> > > > shakes a tambourine or pounds a mystery rhythm on a cowbell)
> > > >
> > > > Now, THAT's a drag!
> > >
> > >1. I suspect there should be a rule the a band doesn't get a "Yoko"
until
> > after
> > > they also have added both a Hammond player and a small brass section.
> > >
> > > dtk
> > >
> > >
>
shudehill
"Joey" <jofe...@REMOVETHISaristotle.net> wrote:
>#5 Yea, even though thy knowest that thy guitar player's betrothed partakes
>of much wine with regularity, thou shalt not encourage her to "show yer
>tits!"
>:yet again
#6 Yea though the Bonehead may walk in thy midst, shoutest as you
attempt to play, and throw foul things upon thine kit, thou shalt not
shove thine drumsticks through his eyesockets.
Liz
Roger Sherman
<tyler....@virgin.net> wrote:
>(Just because you
>play the drums doesn’t mean the babe in the front row want to
>have your love child)
What? Dude, are you sure?
peace,
Leif Madsen
being naked I guess. Nudist perhaps? :)
On Mon, 14 Aug 2000 22:27:21 GMT, "dt king" <dtk...@LezToys.com>
wrote:
Tony Di Novo
>being naked I guess. Nudist perhaps? :)
he has also been known to steal gwens make-up and underware.
\m/
"Pretend music is a giant Mona Lisa, then paint a mustache on it."~Flea
"Just use common sense and don't die or anything" ~RaySpell54
Michael Starcher
Ray. This explains where he got this strange habit. LOL
Bill...do you teach all of your students this? :cX
--
Mike
"The Remainders" - www.remainders.net
MSta...@pnx1.com
Leif Madsen <lma...@mnsi.net> wrote in message
news:399f43c2....@news.mnsi.net...
13612(Bill Ray)
--
- -
Best Regards,
13612
Bill Ray
www.billraydrums.com
Proud father to Xairan Aedn Ray
7/23/00
" Well, you know, drums are conversational. You're just trying to keep the
conversation interesting. If you're constantly thinking about what you're
saying, and not listening, then it suffers."
"Michael Starcher" <MStarch...@pnx1.com> wrote in message
news:c7Jn5.324$053....@news.dbn.net...
Kristallin01
>>being naked I guess. Nudist perhaps? :)
>
>he has also been known to steal gwens make-up and underware.
Sounds like my band members :-)
Kristallin01
never did give it a try...
Leif Madsen
Leif Madsen
in paint? If so... cool :)
On 20 Aug 2000 16:43:03 GMT, krista...@cs.com (Kristallin01)
wrote:
>I once auditioned for an all-girl band who played in full body-painting, I
>never did give it a try...
>
Michel
tdino...@aol.comnospam (Tony Di Novo) wrote:
> he has also been known to steal gwens make-up and underware.
>
What's wrong with that? I'd steal Gwen's underwear! ;-)
Tony Di Novo
you can have the underware, id take her. but seriously if i could have any
singer to do a project with shed be one of the first id call. i guess its just
cause im in highschool. oh well...
Kristallin01
that one, don't know why, wasn't any different from my old stripper gig...
dt king
news:20000820225302...@ng-fz1.aol.com...
> >What's wrong with that? I'd steal Gwen's underwear! ;-)
>
> you can have the underware, id take her. but seriously if i could have any
> singer to do a project with shed be one of the first id call. i guess its
just
> cause im in highschool. oh well...
More than twice as old as you and I also can imagine of some projects I
enjoy having her participate in.
dtk
Tony Di Novo
>More than twice as old as you and I also can imagine of some projects I
>enjoy having her participate in.
i know, ill change my birth certificate. maybe my name too, how does 'Manta
Ray' sound?
Leif Madsen
:)
Man, uhh.. I gotta go :)
On 21 Aug 2000 04:11:38 GMT, krista...@cs.com (Kristallin01)
wrote: