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Introducing: “The 25 Rudimental Alphabet Patterns” THE LOGICAL APPROACH TO RUDIMENTAL SNARE DRUM Created By Phil Perkins About the Author Whether young or old, slow or fast, beginner or advanced, ALL students receive the same individual, enthusiastic instruction when attending a private lesson with Phil Perkins, drum instructor, author, clinician, and performer. Raised in Richmond, Virginia, Phil began playing the snare drum at age eleven, and by the time he finished high school he had.played with a variety of local organizations from the youth symphony to regular weekend work with a rock group. Then. after attending one year at the Virginia Commonwealth University, Phil transferred to the University of Cincinnati, where, during the next four years, he participated in all the usual music activities ranging from opera to percussion ensemble, as well as many local gigs, including extra percussion with the Cincinnati Symphony Orchestra After his formal training was completed, three years of "serving dues” on the road followed while working with many lounge and show groups, as well as a concert attraction playing many of the southern and midwestern colleges. During all this time whether at club or concert engagements, Phil has played drums or percussion for such names as: Jack Jones, Phyllis Diller, Milton Berle, Shirley Maclaine, the Mills Brothers, Mimi Hines, Florence Henderson, John Davidson, Leslie Uggams, Al Martino, Diahann Caroll, and Dave Brubeck (percussion on the Gates of Justice album) and many others, Now, after working and watching his many students struggle to advance their playing, Phil has devised on his own many NEW, CREATIVE ideas to help make learning rhythm more easy and fun for the average student. The future? More students, more books, and many more HAPPY DAYS making music. Books by the Author ‘The Logical Approach” To Snare Drum Volume #1 ‘The Logical Approach" To Snare Drum Volume #2 ‘The Logical Approach” To Snare Drum Rudiments The Logical Approach” To Rudimental Snare Drum The Logical Approach” To Rock Coordination ‘The Logical Approach” To Rock Drum Fills ‘The Logical Approach” To Jazz Coordination All elements of these methods were created, written, and designed by the author. Contents SINGLE STROKE ROLL SITS - LONG ROLL f |? SINGLE PARADIDDLE “77 FLAM RUFF a HALAIAL a7) VLAMACUL tre > HIVE SIHOKL HOLL #4 a SINGLE RATAMACUE SEVEN STROKE ROLL # FIFTEEN STROKE ROLL # FLAM PARADIDOLE 2t72 FOUR STROKE RUFF DOUBLE DRAG ES. TRIPLE PARADIDDLE “7 ‘TRIPLE RATAMACUE DRAG PARADIDDLE #1 3S 35 235. m3> 35 T ALALALR LESSON 1A: Single Stroke Roll Exercises —_— = cee pp 3327 LESSON 1B: Single Stroke Roll Exercises as \ wel aes pod 35 coc35 cdo mes maa ciocds cio 3 hd a3> 35, 3a cock 35 3S i a a a ae ea == =] 35 23> ee er ee aii Sfewa fade ae fpilapies Paral 43 3 pois 35 235 3535 p35 coeds o3o) GoD 535 clock G35 c3ac3a = Ba cdo cioc3s po 3D pe aaz-8 LESSON 2: Introduction to the Long Roll 1. Start very SLOWLY (the open position) 2. LEFT stick UP to its NORMAL extreme (about 12” above the playing area -do NOT lift the arm) 3. RIGHT stick DOWN as close to the playing area as possible (about 1” above the playing area) 4. Bring the LEFT stick DOWN and play TWO strokes while lifting the RIGHT stick UP at the same time Now REVERSE this complete procedure Bring the RIGHT stick DOWN and play TWO strokes while lifting the LEFT stick UP at the same time Continue this ALTERNATING procedure WITHOUT STOPPING Play each of the strokes with a FULL, EVEN sound Keep each of the strokes an EQUAL distance apart GRADUALLY increase the speed while bringing the sticks CLOSER to the drum 11, In order to go FASTER, change from “TWO strokes” with each stick to"ONE stroke and ONE bounce” with each stick * 12. Continue to increase the speed and go into a closed position long roll 13. Be careful NOT to “buzz” the roll or make more than one bounce after each stroke ee Soon "A STROKE AND A BOUNCE: "is ONE movement of the wrist and TWO sounds on the drum. The bounce is therefore a BY-PRODUCT of the stroke. Be careful not to confuse this with TWO STROKES which is TWO movements of the wrist and TWO sounds on the drum. Open Position: d= 60 CSUaaig begets Closed Position: 4- 96 Roll Pattern wURLAR LALA CRCRCRCOR % Stroke and a bounce 10 LESSON 24: Use of the Long Roll ‘Once the long roll can be SMOOTHLY executed in the “closed position’ it can then be used to SUSTAIN the drum in a musical composition. While there may bea variety of different length rolls, each of these must have the same consistency in sound (all the rolls must be “closed” the same amount). And of course, each roll of a particular length must SOUND the SAME when repeated during a composition. To insure this accuracy, learn the corresponding “roll pattern” for each of the various rolis below. Use the roll patterns below at moderate tempos ranging from: 2 1A Roll Pattern aU ROALD R RLR Fool Pattern Roll Pattern za anal al zal 22} nal zal za 64% Roll Pattern Roll Pattern ALR CALRUACR U AULACATAL ACALaLAL F CAtACH CACR CALA ACALALAL BCACALAL ‘Play each of these with “a sroke and a bounce” except te lst note which isa single stroke ‘441! tempo and technical ability permit, the LAST COUNT of this roll patiern may be EXTENDED to FOUR sixteenth notes, PP 392-10 LESSON 2B: Long Roll Exercises ppas211 LESSON 2C: Long Roll Exercises 13 LESSON : Introduction to the Single Paradiddle IFT Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LALL is the sticking pattern for the left-handed single paradiddle REVERSE this complete procedure RLAR is the sticking pattern for the right-handed single paradidale To get the “general feel” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #24 and #2B while adding the ACCENTS where indicated 9, REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the single paradiddle will be heard to form step by step. Learn what to LISTEN for and TUNE IN 40. Now go into the closed posi n single paradiddle in line #3 Open Position: Alternating d = 60 | i | == z x : z 4 is R with accents CR tt A Lt A FA Alternating J 96 TRULAL Pe aa2-19 aR LESSON 3A: Single Paradiddle Exercises pp aaz14 LESSON 3B: Single Paradiddle Exercises pia = = pioedo odo = = co es SS = = 5 oe eee eee ee | ee = piock Goose pp as2.15 16 LESSON 4: Introduction to the Flam a “Slash Mark, y J —— Quarter Note 2d % Gracenote" Fetine mR Ler FLAM RIGHT FLAM A flam isa note of any measured time value which is complimented or reinforced by a grace note. When a fuller sound or more emphasis is required, a flam is used instead of a single note. GRACE NOTES: 1. are used to reinforce another note of full time value. (Notice the tie line connecting the grace note to the quarter note above.) 2. have NO measured time value. (Notice the “slash-mark” through the grace note to indicate this.) 3. having no real time value, therefore do not receive a full sound value. (They are softer than the note complimented.) A. LEARNING PROCEDURE Start very slowly LEFT stick UP to its normal extreme (about 12” above the playing area, do not liftthe arm) RIGHT stick DOWN as close to the playing area as possible (about 1” above the drum) Strike BOTH sticks on the drum at the same time Now reverse the stick positions Strike BOTH sticks on the drum at the same timet Continue this procedure GRADUALLY increasing the speed and bringing the sticks closer to the drum: Nognene ‘The sticks do not actually strike at the exact same time. Since one stick is up and the other stick is down, obviously the “down stick” will strike slightly before the “up stick”. This is correct. When both sticks DO strike the drum at the same time, a thin, “popping” sound occurs which should be avoided, B, MECHANICAL LEARNING PROCEDURE 1. Alternate ONE stick UP and ONE stick DOWN; strike each note with the UP stick and keep it DOWN T ® ft ~& Now ad one grace note with each DOWN stick to make a flam, i 2 ae aoe = WY 7 oR C. EVENNESS OF SOUND FOR FLAMS Evenness of sound is very difficult to achieve when alternating flams. The best approach to evenness is to learn the motions MECHANICALLY first. Then while playing a series of flams, DISREGARD the grace notes and strive to match up the alternating main notes. Learn what to LISTEN for and TUNE IN. 1. Alternate each of the sticks with an EVEN sound. 3A T t 2. Now add the grace notes but continue to match up the alternating main notes EVENLY. 3B S aL wR Pe aaz-16 pp 932.17 LESSON 4A: Flam Exercises pr ag2-19 LESSON 4B: Flam Exercises LESSON 5: Introduction to the Ruff zx Grace notes—+ He J Quarter Note 3s ere RIGHT RUFF A RUFF: is a note of any measured time value which is complimented or reinforced by TWO or more grace notes. When a fuller sound or more emphasis is required than a single note or a flam provides, then a ruff is used. While four and five stroke ruffs are sometimes used, the three stroke ruff is the most common. GRACE NOTES: 1. are used to reinforce another note of full time value. (Notice the tie line connecting the grace notes to the quarter note above.) 2. have NO measured time value but (unlike the flam) are clearly defined for a ruff 3. having no real time value, therefore, do not receivea full sound value. (They are softer than the note complimented.) LEARNING PROCEDURE Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible Strike RIGHT, RIGHT, LEFT Now move the RIGHT stick to the UP position while leaving the LEFT stick in the DOWN position Strike LEFT, LEFT, RIGHT Continue reversing this procedure GRADUALLY increase the speed while bringing the sticks closer to the drum The “two strokes” from the stick in the down position should now become “a stroke and a bounce” 10. Go into the closed position ruft paene eenre Open Position: Altemating J 60 Rae ae Cea Closed Position: Alternating J= 96 FAL Tor MECHANICAL LEARNING PROCEDURE 1. Alternate ONE stick UP and ONE stick DOWN strike each note with the UP stick and keep it DOWN. 4A) 5 2. Now add TWO grace notes with each DOWN stick to make a rt an pe RAL To Pp aa2-19 19 LESSON 5A: Ruff Exercises Pe 352-20 21 LESSON 5B: Ruff Exercises = | Pa ee ee pp agz-21 22, LESSON 6: Introduction to the Ratatap a - 1, Start very SLOWLY (the open position) 2. LEFT stick UP to its normal extreme 3. RIGHT stick DOWN as close to the playing area as possible 4. AALAL Is the sticking pattern for the left-handed ratatap 5. REVERSE this complete procedure 6. LURLR is the sticking pattern for the right-handed ratatap 7. To get the “general feel” of this new rudiment, play lines #1 and #2 8 Next practice the BASIC RHYTHM lines #3A, #38, and #3C while adding the ACCENTS and GRACE NOTES where indicated 9, REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the ratatap wil! be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Go into the closed position ratatap ud Open Postion: J- 60 - penne PS A A A Basic Rhythm 3A areca Basic Rhythm: with accents 3c FAL AL uA LR a 458 Taal RL RuAL R 7p 392-22 Pp a32.29 LESSON 6A: Ratatap Exercises 23 24 LESSON 6B: Ratatap Exercises pp asz-24 25 ~ LESSON 7: Introduction to the Flamacue - redadad + Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible ALRLR, AL is the sticking pattern for the left-handed flamacue REVERSE this complete procedure LALAL, LR is the sticking pattern for the right-handed flamacue To get the “general fee!” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #2A, #2B, #2C, and #2D while adding the ACCENTS and GRACE NOTES where indicated 8. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the flamacue will be heard to form step by step: Learn what to LISTEN for and TUNE IN 10. Now go into the closed position flamacue in lines #3 and #4 eX OnrRona Open Position: Alternating 4= 60 | 1 i ie L “st RL A RL ieee ope ee ee Basic Rhythm ean iG Basic Rhythm: with grace notes 2 2 Bees gee eee Basie Rhythm: with accents 2c = cv R UR Tv Basic Rhythm: with accents and grace notes 2D] = = La FG, A eR Closed Position: Alternating 4= 96 ALALAAL TRURL LR Closed Position: Inverted TR AUR LARC AL pp 392.25 vR LA LGR 26 LESSON 7A: Flamacue Exercises pp 292-26 LESSON 7B: Flamacue Exercises 27 pp 992-27 28 LESSON 8: Introduction to the Five Stroke Roll Fy Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LL, RR, L is the sticking pattern for the left-handed five stroke roll REVERSE this complete procedure AR, LL, A is the sticking pattern for the right handed five stroke roll Learn the ROLL PATTERN for the five stroke roll (in line #4B below) Play each of the strokes with a FULL, EVEN sound Keep each of the strokes an EQUAL distance apart GRADUALLY increase the speed while bringing the sticks CLOSER to the drum Change trom “two strokes" with each stick toa stroke and a bounce” (except the last note which is only one stroke) 12. Now TUNE IN to the ROLL PATTERN instead of counting the sticking 13. Go into a closed position five stroke roll 14. Be careful NOT to “buzz” the roll or make more than five notes for the five stroke roll 15. Now alternate back and forth between the five stroke roll and its roll pattern to provide IN TEMPO practice Open Position: Alternating 4- 60 Roll Pattern 4B LAL ALR CRO ORC Closed Position: Inverted 4= 96 5A Roll Pattern 5B Tee CR CAO RE ca PP 392.29 Stroke and a bounce LESSON 8A: Five Stroke Roll Exercises 29 30 LESSON 8B: Five Stroke Roll Exercises Pp 352-30 a LESSON 9: Introduction to the Single Ratamacue Pt 1. Start very SLOWLY (the open position) 7 2. LEFT stick UP to its normal extreme . 3. RIGHT stick DOWN as close to the playing area as possible 4. ULRLRL is the sticking pattern for the left-handed single ratamacue 7 5. REVERSE this complete procedure 6. RALALR is the sticking pattern for the right-handed single ratamacue 7. To get the “general feel" of this new rudiment, play lines #1 and #2 - 8. Next practice the BASIC RHYTHM lines #3A, #3B, and #3C while adding the ACCENTS and GRACE NOTES where indicated 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the single ratamacue will be heard to form step'by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position single ratamacue in lines #4 and #5 Paty ee eran ear Basic Rhythm ae 3a 35 cb 3 ALAC Basic Rhythm: with accents o> 3o> RURAL Closed Position: J= 96 > o> o> 3c = - TERLAL RALALR, Closed Position: Alternating J= 96 co> do> 3o> 3a o> TIRLRL ARLALA Closed Position: Inverted = 96 7 m3 ee eS ee OF - TaatAL RuALA OO pp 992.31 32 pp agz92 LESSON 9A: Single Ratamacue Exercises 33 LESSON 9B: Single Ratamacue Exercises = cio => 3> > ch c35 = 35 ao> a3 ee pao> pdoc3> 3 eg = Pp aaz-a9 34 LESSON 10: Introduction to the Seven Stroke Roll 3 Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LL, RR, LL, P is the sticking pattern for the left-handed seven stroke roll REVERSE this complete procedure AR, LL, RR, L is the sticking pattern for the right-handed seven stroke roll Learn the ROLL PATTERN for the seven stroke roll (in line #48 below) Play each of the strokes with a FULL, EVEN sound Keep each of the strokes an EQUAL distance apart GRADUALLY increase the speed while bringing the sticks CLOSER to the drum Change trom “two strokes” with each stick to “a stroke and a bounce” (except the last note which is only one stroke) 42. Now TUNE IN to the ROLL PATTERN instead of counting the sticking 1. Go into a closed position seven stroke roll 14. Be careful NOT to "buzz" the roll or make more than seven notes for the seven stroke roll 15. Nowalternate back and forth between the seven stroke roll and its roll pattern to provide IN TEMPO practice Open Position: d= 60 TORR CUR RACE AR TURA LCR RALL RAL Closed Position: 4A Roll Pattern 4B LAUR eo CRE R Closed Position: Inverted = 96 5A Roll Pattem 5B *A LAL A v CRO aa na P3924 #Stroke and a bounce PP 332-95 LESSON 10A: Seven Stroke Roll Exercises 35 36 35 PP 332-96 LESSON 10B: Seven Stroke Roll Exercises 35035 =3> 235 Bonds = 2A 2B 10. 37 LESSON 11: Introduction to the Flam Tap dM ded Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible ALL, LAR is the sticking pattern for the left-handed flam tap REVERSE this complete procedure LAR,ALL is the sticking pattern for the right-handed flam tap To get the "general feel” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #2A and #2B while adding the GRACE NOTES where indicated REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the flam tap will be heard to form step by step. Learn what to LISTEN for and TUNE:IN Now go into the closed position flam tap in lines #3 and #4 ‘Open Position: Alternating J= 60 aL Tv TR Ft Basic Rhythm tt A ® Basic Rhythm: with grace notes AL tik A Closed Position: Alternating J= 96 4 RL LLR A Closed Position: Inverted 4= 96 TR AL LUR RAL pp aaz-a7 38 LESSON 11A: Flam Tap Exercises 33 PP 392-38 39 LESSON 11B: Flam Tap Exercises 1=ets Se ee a ee as pp 292.99 40 LESSON 12: Introduction to the Nine Stroke Roll ar 1, Start very SLOWLY (the open position) 2. LEFT stick UP to its normal extreme 3. RIGHT stick DOWN as close to the playing area as possible 4. LL, AR, LL, RR, L is the sticking pattern for the left-handed nine stroke roll 5, REVERSE this complete procedure 6. RA, LL, RR, LL, R is the sticking pattern for the right-handed nine stroke roll 7. Learn the ROLL PATTERN for the nine stroke roll (in line #4B below) 8. Play each of the strokes with a FULL, EVEN sound 9. Keep each of the strokes an EQUAL distance apart 10. GRADUALLY increase the speed while bringing the sticks CLOSER to the drum 11. Change from "two strokes" with each stick to “a stroke and a bounce" (except the last note which is only one stroke) 12. Now TUNE IN to the ROLL PATTERN instead of counting the sticking 13. Go into a closed position nine stroke roll 14. Be careful NOT to “buzz” the roll or make more than nine notes for the nine stroke roll 15. Now alternate back and forth between the nine stroke roll and its roll pattern to provide IN TEMPO practice Open Position: Alternating 4= 60 J 1 ——————— Too RR TURE Lo ARASL RALL ARLL RA Closed Position: Alternating 4= 96 4A) Roll Pattern 4B aC aT aT 7 taLA REAE Closed Position: Inverted 4= 96 5A Roll Pattern 5B ReUR CAL t RL A CR OCR Batya) pea92-40 #Stroke and a bounce 4 LESSON 12A: Nine Stroke Roll Exercises c3oc35 = pp 392-41 42 LESSON 12B: Nine Stroke Roll Exercises o> po 35 = pod cd od 3 pp a32-82 43 LESSON 13: Introduction to the Single Drag afl. Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LURL is the sticking pattern for the left-handed single drag REVERSE this complete procedure ALR is the sticking pattern for the right-handed single drag To get the “general feel” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #2A, #2B, and #2C while adding the ACCENTS and GRACE NOTES where indicated REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the single drag will be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position single drag in lines #3 and #4 Pxeesena Open Position: Alternating Basic Rhythm 2a Ro Basic Rhythm: with accents aL Closed Position: 2c] wR RAL Closed Position: Aitemating J 96 3 tLRL PALA Closed Position: Inverted J= 96 (SSS SS See eS 3 Cohpaee = a CARL pp 292.43 44 Pp 392-44 LESSON 13A: Single Drag Exercises pp aaza5, LESSON 13B: Single Drag Exercises 45 46 LESSON 14: Introduction to the Thirteen Stroke Roll : z d 4. Start very SLOWLY (the open position) 2. LEFT stick UP to its normal extreme 3. RIGHT stick DOWN as close to the playing area as possible 4, LL, AR, LL, RR, LL, AR, L is the sticking pattern for the left-handed thirteen stroke roll 5. REVERSE this complete procedure 6. RR, LL, RR, LL, RR, LL, Ris the sticking pattern for the right-handed thirteen stroke roll 7. Learn the ROLL PATTERN for the thirteen stroke roll (in line #4B below) 8. Play each of the strokes with a FULL, EVEN sound 9. Keep each of the strokes an EQUAL distance apart 10. GRADUALLY increase the speed while bringing the sticks CLOSER to the drum 11. Change from “two strokes” with each stick toa stroke and a bounce” (except the last note which is only one stroke) 12. Now TUNE IN to the ROLL PATTERN instead of counting the sticking 13. Go into a closed position thirteen stroke roll 14, Be careful NOT to "buzz" the roll or make more than thirteen notes for the thirteen stroke roll 15. Nowalternate back and forth between the thirteen’stroke roll and its roll pattern to provide IN TEMPO practice. Open Position: Alternating 4= 60 gean ner cah Ae Cacaninagts RALL RARLL RRLL A TEAR CLARA CLARO RALLAALL ARLLA TURA LURR CORAL RALLC RALL RALL A Closed Position: Alternating d= 96 4A Roll Pattern 4B WORUR URL ALALAROUR CRCR OR RUCRCORC Closed Position: Inverted d= 96 5al Roll Pattern 5B T¥AL ALAL AL Bey eR URE t ppagz-as_ #Stroke and a bounce px za pp 932.47 LESSON 14A: Thirteen Stroke Roll Exercises a7 48 LESSON 14B: Thirteen Stroke Roll Exercises Pp 332-48 49 LESSON 15: Introduction to the Flam Accent ~ wid Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible ALAL is the sticking pattern for the left-handed flam accent REVERSE this complete procedure LALR is the sticking pattern for the right-handed flam accent L To get the “general feel” of this new rudiment, practice the BASIC RHYTHM lines #1A and #18 while adding the GRACE NOTES where indicated 8. REPEAT each line as many times as necessary and continue on to the next WITHOUT L STOPPING so the flam accent will be heard to form step by step. Learn what to LISTEN for and TUNE IN 9. Now go into the closed position flam accent in lines #2 and #3 Noonena Open Position: Basic Rhythm 1A c R Basic Rhythm: with grace notes — 1B (cas tr tf Closed Position: Alternating d= 96 35 e355 m3 ea a> pio oi : FLA LIAL RA Closed Position: Alternating d= 96 pod od 3 oS iewniewed eee eee ALALLALA PP 332-49 50 PP 332-50 LESSON 15A: Flam Accent Exercises LESSON 15B: Flam Accent Exercises 535 oo dood 3S BS pS 53> 51 Pp 292-61 52 LESSON 16: Introduction to the Double Paradiddle ARS. Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LR, LALL is the sticking pattern for the left-handed double paradiddle REVERSE this complete procedure RL, RLAR is the sticking pattern for the right-handed double paradiddle To get the “general feel” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #2A and #2B while adding the ACCENTS where indicated 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the double paradiddle will be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position double paradiddle in line #3 exoesena Open Position: Alternating «= 60 TROULALL ARLALRA Basic Rhythm 2APEE Ceeg ahaa eC Uemnacenarl Basic Rhythm: with accents 2B TRUAR ULLAL ALAR Closed Position: Alternating J= 96 3 TALR ULLAL ALRRA pp 332-52 53 ~ LESSON 16A: Double Paradiddle Exercises Pp aaz-sd) 54 LESSON 716B: Double Paradiddle Exercises pp 392-56 55 LESSON 17: Introduction to the Double Ratamacue Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LUR, LLRLAL is the sticking pattern for the left-handed double ratamacue REVERSE this complete procedure AL, RALRLR is the sticking pattern for the right-handed double ratamacue To get the “general feel” of this new rudiment, play lines #1 and #2 Next practice the BASIC RHYTHM lines #3A, #3B, #4A, and #48 while adding the ACCENTS and GRACE NOTES where indicated 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING s0 the double ratamacue will be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position double ratamacue in line #5 PNOVReDa Open Position: Alternating ¢= 60 3 > —3— > Des eee ees eines tT AA ot aA URLRA Basic Rhythm: with accents 35 = 35 = ran = 3a = 3A R ALA L Closed Position: 35 35 3B] —_ eC, TCRLRLR L RALRRLAL Basic Rhythm: with accents o> a> go> 3o> RACAL Closed Position: inverted 4- 96 TUR URLRL RAL AALRLA Closed Position: Alternating = 96 35 = o> 35 5s fe TURLURLR L aA ARLALA 30> 35 = 56 Pp aa2.s6 LESSON 17A: Double Ratamacue Exercises 35 3o> go> e3o> 35 <3 = 35 = o> go> o> 35 = = ch = ch 35 = = = pao 35 35 35 == = ocd = LESSON 17B: Double Ratamacue Exercises 57 cio> 34 35 > ocd do 35 Sieg od hoods = pp aa2.57 58 13, 14, 15. 4B) FS eenoosene LESSON 18: Introduction to the Fifteen Stroke Roll 5 Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LL, RR, LL, RR, LL, AR, LL, Ris the sticking pattern for the left-handed fifteen stroke roll REVERSE this complete procedure RR, LL, RR, LL, RR, LL, RA, Lis the sticking pattern for the right-handed fifteen stroke roll Learn the ROLL PATTERN for the fifteen stroke roll (in line #48 below) Play each of the strokes with a FULL, EVEN sound Keep each of the strokes an EQUAL distance apart GRADUALLY increase the speed while bringing the sticks CLOSER to the drum Change from “two strokes” with each stick to"astroke anda bounce” (except thelast note which is only one stroke) Now TUNE IN to the ROLL PATTERN instead of counting the sticking Go into a closed position fifteen stroke roll Be careful NOT to "buzz" the roll or make more than fifteen notes for the fifteen stroke roll Now alternate back and forth between the fifteen stroke roll and its roll pattern to provide IN TEMPO practice Open Position TORR CLARA LLAR LOR AALL RALL AALL ARL LLRARLLRAR LLARLLR RALCURACLC RALCAAL TLARR ULAR CLARLUR AALUARALL RALURAL Closed Position: 4 = 96 Roll Pattern CARLA DRO RLRLARURL een ARS RCORCACA Closed Position: Inverted 4= 96 SAI Roll Pattern 5B RL AL AULAL A URLR LALA L Pane Sena esret ROR CRUR Pp as2.58 %Stroke and a bounce PP 392-59 LESSON 18A: Fifteen Stroke Roll Exercises 59 po rdac35 PP 332-60 LESSON 18B: Fifteen Stroke Roll Exercises <3. oho pdocd ca = 61 Introduction to the Flam Paradiddle LESSON 1 tf ddd Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible ALALL Is the sticking pattern for the left-handed flam paradiddle REVERSE this complete procedure ULAR is the sticking pattern for the right-handed flam paradiddle To got the “general feel” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #2A and #2B while adding the GRACE NOTES where indicated REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the flam paradiddle will be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position lam paradiddle in line #3 t @NOarowe Open Position: Alternating ¢= 60 FORE Gen othe aha, Basic Rhythm 2A = T_ At ae RL RA Basic Rhythm: with grace notes 2B RR LL. oh, La A Closed Position: Alternating 4= 96 3: AL ALLLRLAR - Pp a92-61 62 LESSON 19A: Flam Paradiddle Exercises pp aa2-62 LESSON 19B: Flam Paradiddle Exercises pp aaz-6a 63 64 eNoosene 10. LESSON 20: Introduction to the Four Stroke Ruff & Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LAL is the sticking pattern for the left-handed four stroke ruff REVERSE this complete procedure LALR is the sticking pattern for the right-handed four stroke ruff To get the “general feel” of this new rudiment, play lines #1, #2, and #3 Next practice the BASIC RHYTHM lines #4A and #4B while adding the GRACE NOTES where indicated REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the four stroke ruff will be heard to form step by step. Learn what to LISTEN for and TUNE IN Now go into the closed position four stroke ruff in line #5 WORT TRUR Basic Rhythm, T Tc Closed Position: J = 96 ALAL ALL TacR LALA 5: Closed Position: Alternating 4= 96 LAL RURAL pr asz-64 pp 232-65 LESSON 20A: Four Stroke Ruff Exercises 65 LESSON 20B: Four Stroke Ruff Exercises cioc3> cd Gd Pp aszes: 67 LESSON 21: Introduction to the Double Drag J Ee SS Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible UR, LURL is the sticking pattern for the left-handed double drag REVERSE this complete procedure AL, ALR is the sticking pattern for the right-handed double drag To get the "general feel” of this new rudiment, play lines #1 and #2 Next practice the BASIC RHYTHM lines #3A, #3B, #4A, and #4B while adding the ACCENTS and GRACE NOTES where indicated 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the double drag will be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position double drag in line #5 Open Position: Alterating J= 60 Ceca Tt RL FAL AAaL A Basic Rhythm: with accents 3A = RAL Closed Position: J» 96 3B oa TeR LAL AL ARL A Basic Rhythm: with accents 4a RRL Closed Position: Inverted 4B = eS wR URL RAL ARLE Closed Position: Alternating 4~ 96 ——"TiR_ tcR LARL ARAL AR PP 392-67 68 LESSON 21A: Double Drag Exercises pp aaz-68 Pe 332-69 LESSON 21B: Double Drag Exercises 69 70 LESSON 22: Introduction to the Triple Paradiddle Start very SLOWLY (the open position) u LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LR, LA, LALL is the sticking pattern for the left-handed triple paradiddle a REVERSE this complete procedure RL, RL, RLAR is the sticking pattern for the right-handed triple paradiddle To get the “general feel” of this new rudiment, play line #1 Next practice the BASIC RHYTHM lines #2A and #28 while adding the ACCENTS where indicated 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT 4 STOPPING 60 the triple paradiddle will be heard to form step by step. Learn what to LISTEN for and TUNE IN 10. Now go into the closed position triple paradiddle in line #3 7 exnooeena ‘Open Position: Alternating ¢= 60 cA LR rr Ro RL Rt RA jie Rhythm, a TA Basic Rhythm: with accents tT oR LA CR LU Ro AL Rot A A _ Closed Position: Alternating #= 96 3: ivy iy Ra Cycees Ue aCe ge Pp392.70 . n LESSON 22A: Triple Paradiddle Exercises pp 332.71 72 LESSON 22B: Triple Paradiddle Exercises = cio = cio> pp a32.72, 73 LESSON 23: Introduction to the Triple Ratamacue ch> = aie Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LLR, LR, LLRLRL is the sticking pattern for the left-handed triple ratamacue REVERSE this complete procedure ARL, RAL, RALRLR is the sticking pattern for the right-handed triple ratamacue To get the “general feel” of this new rudiment, play lines #1 and #2 Next practice the BASIC RHYTHM lines #3A, #3B, and #3C while adding the ACCENTS. and GRACE NOTES where indicated 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the triple ratamacue will be heard to form step by step. Learn what to LISTEN for and TUNE IN eNenrens 10. Now go into the closed position triple ratamacue in lines #4 and #5 Open Position: Altemating J= 60 34> rans TiR tt R ct RURAL waAL AAL AR LALA Tt Aut A it RUA LAR LAR LAR LALA Basic Rhythm 35 35 35 35 RA ALAC TRLA Basle Rhythm: with accents so> do RA ALRL TALR Closed Positio go> go> TCR CR LCRERL RRL AL AALALA Closed Position: Alternating o> o> go> co TuR LR LCRLRL RAL RAL ARLALA Closed Position: Inverted 5S x35 = so = RR URLURUR LC AAL AALAALRL A pp 992.73 74 pp a92-74 LESSON 23A: Triple Ratamacue Exercises o> ca oe 535 = 75 LESSON 23B: Triple Ratamacue Exercises = c= = m35 = Pp 392-75 76 LESSON 24: Introduction to the Drag Paradiddle #1 Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible L,RALRLL is the sticking pattern for the left-handed drag paradiddie #1 REVERSE this complete procedure A, LLRLAR is the sticking pattern for the right-handed drag paradiddle #1 To get the “general feel” of this new rudiment, play lines #1 and 42 Next practice the BASIC RHYTHM lines #3A and #38 while adding the GRACE NOTES where indicated REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the drag paradiddle #1 will be heard to form step by step. Learn what to LISTEN for and TUNE IN. 10. Now go into the closed position drag paradiddle #1 ePrNOgsena Open Position: Alternating 4= 60 Tart ALL RitiRLAA Tages ge Cone cae ae Basic Rhythm 3 3 3 3 3 3 3 3A T LALLA ALAR Closed Position: Alternating ee ee 3p pEpeaeasew hs Taal RCL ALLRL AR pp 292-76 LESSON 24A: Drag Paradiddle #1 Exercises pp aa2-77 77 78 LESSON 24B: Drag Paradiddle #1 ——— Exercises PP 332-78 79 5 LESSON 25: Introduction to the Drag Paradiddle #2 ~ Baliad Start very SLOWLY (the open position) LEFT stick UP to its normal extreme RIGHT stick DOWN as close to the playing area as possible LL, ARL, AALRLL is the sticking pattern for the left-handed drag paradiddle #2 REVERSE this complete procedure R, LOR, LLRLAR is the sticking pattern for the right-handed drag paradiddle #2 To get the “general feel” of this new rudiment, play lines #1 and #2 Next practice the BASIC RHYTHM lines #3A, #38, and #3C while adding the ACCENTS and GRACE NOTES where indicated S 9. REPEAT each line as many times as necessary and continue on to the next WITHOUT STOPPING so the drag paradiddle #2 will be heard to form step by step. Learn what to LISTEN for and TUNE IN bs 10. Now go into the closed position drag paradiddle #2 oNOREENe Open Position: Alternating J= 60 L 1 [wat aa tat t R otn tt A LR A ~ Se eS See 2S SS SS SS ctCore LE RR EL R LL Rou Le R RR Basic Rhythm Tb Stu ete Ree Basic Rhythm: with accents 38) tT t tRLL AR A Closed Position: Alternating ¢= 96 3c] fie fire Tan AL ALO ALR URL AA pp 33279 20 Pe 332-60 LESSON 25A: : Drag Paradiddle #2 Exercises Pp aaz-a1 LESSON 25B: Drag Paradiddle #2 Exercises 81 The 25 Rudimental Alphabet Patterns” poo rdnte gs WT) vw SFE 4 ad 5, & a= cin = on. dade oe. daved d+ wtdeed en. detent Ta) won BF. 10.4. Gd Dy ye Wud wl? wits cio> v0.41) Bddod ea 8 of UR TT ca ddd d soderies a aft)s won f wo tBD 4 anf ids wd ED wb od wed Bd voor PUETTE om Bead y w.dE. |) seal tad on Bl male ds neh 2lT oR we EH |) ee | «leet 83 The Rudimental Alphabet Patterns” Single Stroke Roll Good Good Good 1A Toe ee ape eee Cg Single Stroke Roll: Inverted do cdo do edo 35> 35 35 235 LT RUALRLR & LCALALAL Long Roll TLAA LLAR LLARM ALR LRU Single Paradiddle TRL RUAR LALL ALAR Flam Ratatap: Inverted L Flamacue Flamacus | 7B RURUARAL tRLALLR | pea2283 ®Stroke and a bounce 84 The Rudimental Alphabet Patterns” Five Stroke Roll Five Stroke Roll: Inverted Single Ratamacue aio = cn = o> oS Single Ratamacue: Inverted pio = B35 Sido Sd = 9B AotARUtA LARULAL RA ‘Seven Stroke Roll 10A: aa nal pal ‘Seven Stroke Roll: Inverted 10B Flam Tap 114: 11B RCL AAL iR AL LOR RAL Nine Stroke Roll 12a: Nine Stroke Roll: Inverted 12B2 Tab aL ROARL ppaszes Stroke and a bounce Ft Ro c 85 The Rudimental Alphabet Patterns™ Single Drag 13A: Single Drag: Inverted 13B Thirteen Stroke Roll 144 Thirteen Stroke Roll: Inverted 14B: Flam Accent mio 85) aS 15 Double Paradiddle —— — cy en l= eee aaa TROR UL RLARL AR Double Paradiddle: Inverted 16B TR ERLL RURLAR Double Ratamacue 35 > a3 = 35 = o> 17A: tL ACURLAL AR LARLALA Double Ratamacue: Inverted ran = 35 = pao> o> 178 TERCCRLAL AALRALALR Fifteen Stroke Roll, 18A: ®URCR CRULR @LA CRCR CRC RCA Peaszes % Stroke and a bounce 86 The Rudimental Alphabet Patterns” Fifteen Stroke Roll: Inverted 188 =e —————— Flam Paradiddle Four Stroke Rutt i Double Drag 214: Double Drag: Inverted 21B Triple Paradiddle 22 CALA LALL ALAL ALAA Triple Ratamacue =I = > 3o> 23A: B L HRA Triple Ratamacue: Inverted = = 5 = 35 Drag Paradiddle #2 TaalralLALt RiiRiL ALAR ppaaz-e6 Stroke anda bounce Reverse sticking The Rudimental Alphabet System™ Singles aA: » Aan TR —— Flams ante ed aon de added sadgddday seddeadda wd Bid y 35 > dy be seddedd 1 cio = che Bed + or bah). male + w1ebslT pdo> 3 nepal o@aa)) .i leet Rolls af wlh dy uf ds odh DD od E Dd af wd i) ff pp 392-87 _ The Rhythmic Alphabet System™ Crcated By Phil Perkins The 21 Rhythmic Alphabet Patterns™ m7 at) wold ELEMENTARY 7. aad) BY Fi agq¢ga wg dy y 0 1 FTI TRIPLET MULTIPLES =r —3— wiih witl ali alld The 10 Niain Synonym Rhythms™ ? oe 7 id Wh IFhy Jets Sard yl yr The & Rhythmic Crutches™ 2. Fly jie joes pr 392-68