Introducing:
“The 25 Rudimental Alphabet Patterns”
THE
LOGICAL
APPROACH TO
RUDIMENTAL
SNARE DRUM
Created By
Phil PerkinsAbout 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 ALALALRLESSON 1A: Single Stroke Roll Exercises
—_— =
cee
pp 3327LESSON 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-8LESSON 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 bounce10
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 392-10LESSON 2B: Long Roll Exercises
ppas211LESSON 2C: Long Roll Exercises13
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
aRLESSON 3A: Single Paradiddle Exercises
pp aaz14LESSON 3B: Single Paradiddle Exercises
pia = = pioedo odo = =
co es SS = =
5 oe eee eee ee | ee
= piock Goose
pp as2.1516
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-16pp 932.17
LESSON 4A: Flam Exercisespr ag2-19
LESSON 4B: Flam ExercisesLESSON 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
19LESSON 5A: Ruff Exercises
Pe 352-2021
LESSON 5B: Ruff Exercises
= |
Pa ee ee
pp agz-2122,
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 392-22Pp a32.29
LESSON 6A: Ratatap Exercises
2324
LESSON 6B: Ratatap Exercises
pp asz-2425
~ 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 LGR26
LESSON 7A: Flamacue Exercises
pp 292-26LESSON 7B: Flamacue Exercises
27
pp 992-2728
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 bounceLESSON 8A: Five Stroke Roll Exercises
2930
LESSON 8B: Five Stroke Roll Exercises
Pp 352-30a
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 992.3132
pp agz92
LESSON 9A: Single Ratamacue Exercises33
LESSON 9B: Single Ratamacue Exercises
= cio => 3> >
ch c35 = 35 ao>
a3 ee pao> pdoc3> 3 eg =
Pp aaz-a934
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 bouncePP 332-95
LESSON 10A: Seven Stroke Roll Exercises
3536
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-a738
LESSON 11A: Flam Tap Exercises
33
PP 392-3839
LESSON 11B: Flam Tap Exercises
1=ets Se ee a ee as
pp 292.9940
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 bounce4
LESSON 12A: Nine Stroke Roll Exercises
c3oc35 =
pp 392-4142
LESSON 12B: Nine Stroke Roll Exercises
o> po 35 =
pod cd od
3
pp a32-8243
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 292.4344
Pp 392-44
LESSON 13A: Single Drag Exercisespp aaza5,
LESSON 13B: Single Drag Exercises
4546
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
zapp 932.47
LESSON 14A: Thirteen Stroke Roll Exercises
a748
LESSON 14B: Thirteen Stroke Roll Exercises
Pp 332-4849
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 332-4950
PP 332-50
LESSON 15A: Flam Accent ExercisesLESSON 15B: Flam Accent Exercises
535 oo dood 3S BS pS
53>
51
Pp 292-6152
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 332-5253
~ LESSON 16A: Double Paradiddle Exercises
Pp aaz-sd)54
LESSON 716B: Double Paradiddle Exercises
pp 392-5655
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 aa2.5758
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 bouncePP 392-59
LESSON 18A: Fifteen Stroke Roll Exercises
59po
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 a92-6162
LESSON 19A: Flam Paradiddle Exercises
pp aa2-62LESSON 19B: Flam Paradiddle Exercises
pp aaz-6a
6364
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-64pp 232-65
LESSON 20A:
Four Stroke Ruff Exercises
65LESSON 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 392-6768
LESSON 21A: Double Drag Exercises
pp aaz-68Pe 332-69
LESSON 21B: Double Drag Exercises
6970
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 332.7172
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 992.7374
pp a92-74
LESSON 23A: Triple Ratamacue Exercises
o> ca oe
535 =75
LESSON 23B: Triple Ratamacue Exercises
= c= = m35 =
Pp 392-7576
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 292-76LESSON 24A: Drag Paradiddle #1 Exercises
pp aa2-77
7778
LESSON 24B: Drag Paradiddle #1
———
Exercises
PP 332-7879
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 3327920
Pe 332-60
LESSON 25A:
: Drag Paradiddle #2 ExercisesPp aaz-a1
LESSON 25B: Drag Paradiddle #2 Exercises
81The 25 Rudimental Alphabet Patterns”
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voor PUETTE om Bead y
w.dE. |) seal tad
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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 bounce84
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
c85
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 bounce86
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 stickingThe 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
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wiih witl ali alld
The 10 Niain Synonym Rhythms™
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Wh IFhy
Jets Sard
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The & Rhythmic Crutches™
2.
Fly
jie joes
pr 392-68