SEO am McC Alfred * Gain Immediate Stick Control, Speed and Efficency of Motion * SFC ae aL Cou i © 10 Groove Tracks in Various Styles * 2 Bonus Contest Solos with CD AccompanimesTable of Contents ‘Acknowledgments ‘About the Savage Ru Special Notation Instructions Tips for Perfect Practice Groove Tracks... Section |:Roll Rudiments Single Stroke Roll Relax and Roll With It . CD Tack™ comes 13. Wormey Singlets. Long Roll Long Roll Samba Five Stroke Roll High Five .. Stroke Roll ix Stroke Sally 24, Seven Stroke Roll 25. Seven Nine Stroke Roll Number Nine Ten Stroke Roll 29. Ten Pin Eleven Stroke Roll Eleven Thirteen Stro! Thirteenth Floor .. Fifteen Stroke Roll Funky and Fifteen Seventeen Stroke Roll The Longest Roll Multiple Bounce Roll Buzz Me Up .. Single Paradiddle .. Back That Diddle Up Double Paradiddle Double Triple Paradiddle It's a Triple Paradiddle Single Paradiddle-Diddle S.PD. *CD# I Tracks 1-12 are the Groove Tracks and are listed on page 16.(D2-Track Comet Flam Paradiddle Flam the P's Flam Paradiddle-Diddle . Triple Whip Single Dragadiddle ‘One Fine Drag (a Diddle) Drag Paradiddle #1 DR #I . Drag Par DP. #2 .. Section Ham Rudiments 7 Flam Flam-Bam! Flam Accent .. Flam Accent Groove Flam Tap Flam Taps in Space .. Flamacue "Cue It Up Pataflafla Pretty Fla Swiss Army Triplet Swiss Army Triplets Single Flammed Mill ‘A Familiar Mil Inverted Flam Tap .. Inverted Malf Pat Scion Drag adments fl Onin s Ss SBRERRRERRRSSSha AS ZGR=SebUE => Ss La IL | Year of the Dragon .. Single Drag Tap Etude S.D.I. Double Drag Tap Etude D.D.T. Flam Drag This Flam’s No Drag Lesson 25 .. Not Less Than 25, Single Ratamacue Cool Maque Double Ratamatue . Double Ratén .. Triple Ratamacue Triple Raton Section 5:Rudimental Solos The Genie .... Coast to Coast ‘About the Author Percussive Arts Society Internation: 40 Drum RudimentsAbout the Savage Rudimental Workshop Tre senee Rudimental Workshop is designed to be used by all levels of percus~ ionists. The beginning student will discover the basic workings of the essential rudiments; the intermediate student will apply the rudiments in more complex ways; and the advanced student will be able to take the rudiments to higher levels of under- standing, composition, and performance. This Dook consists of three components: Component -Rudiment Exercises Each of the P.A.S. Rudiments includes a collection of short exercises that allow the player to physically and mentally understand how each rudiment is put together and how it can be played in the most efficient and controlled manner at all speeds and dynamic levels. ‘These exercises teach: 1. Right and left hand responsibilities for each rudiment. 2.’The basic hand motions and primary strokes needed to play each rudiment. 3, Proper up/down stick positioning to enhance efficiency. 4, Various patterns that break down the rudiment into smaller components. Component I -Rudiment Soles Following each collection of rudiment exercises is a solo incorporating only that rudi- ment. Each solo gradually increases in difficulty from beginning to end. This allows players of all levels to be challenged at different points throughout the solo. The solos incorporate dynamics, sticking patterns, and phrasing while stressing musicality and feel. This portion of the book also aids in developing music-reading skills. Component I Compact iss ‘The compact discs include selected exercises at a moderate tempo followed by the rudiment solo and accompaniment. The recording technique incorporates a right and left balance option in which the solo part is found on the left channel and the accom- paniment on the right. This enables the player to choose to listen to the solo material, the accompaniment, or both at the same time. ‘The CDs also include ten Groove Tracks that can be used with the exercise portion of the book. The Groove Tracks offer a number of different tempos, styles, and feels so the player can practice various exercises to the accompaniment of his or her choice. ‘The CDs are of paramount importance because the player can now apply the rehearsal intent of the exercise to a full ensemble. Rudimental exercises generally cantend to sound and feel robotic. The CD accompaniments help the player stay out of that robotic frame of mind and encourage playing with musicality, groove, and feel. ‘The accompaniments also act as a metronome, helping the players gain a solid sense of pulse while having fun playing along! Using the Book Stik Positions "Tizeushous the book the terms up postion and dewn postion are used to describe where the stick or sticks should start or finish. Here are descriptions and pictures of each, Up Position - The bead is above the head f oe Playing the Four Basic Stroke Types throughout this book, the terms natural stroke, downstroke, upstroke and tap stroke are used to describe the specific type of stroke used at various points throughout the rudiment. Mastering these stroke types and stick positions is the secret to playing the rudiments at any tempo with total control. Here are descriptions and pictures of each stroke type. {Hatural Stroke (legato stroke, rebound stroke). ‘This stroke is the most natural motion the stick can make (and in my opinion, the first stroke a percussionist should learn). Begin with the bead in the up position at least 12 inches from the head. Using the combination of wrist turn and fingers forenergy, throw the bead down to the head and allow it to rebound back to the original position. Allow the wrist and fingers to move with the stick down and then up. Do not consciously attempt to lift the stick up to the original position; let the natural rebound allow the stick to rebound or bounce up to the original position. This motior is the same principle as bouncing or dribbling a ball. This stroke requires a relaxed grip and very good timing among the stick, drum, fingers, and wrist. When practicing the natural stroke, notice how all of these elements must work perfectly together to produce a relaxed natural stroke and great quality sound. Natural Stroke Summary: Start up. Finish up. You throw the bead down; the head bounces the stick up. A full-volume stroke. ‘LDownstroke There are two wi s to begin a downstroke A) In the up position. When starting in the up position, throw the bead down as in the natural stroke but do not allow the stick to rebound. Control the rebound by slightly gripping the stick with the fingers. Finish with the bead 1 Downstroke Summary (up position): Start up. Finish down. Usually a ful volume stroke, but not always. B) In the down position: When starting in the down position 1"-3" from the head, use the wrist to lift the bead to the up position, 8"-12" from the head, in preparation to perform the downstroke. (Remember, the fingers never leave the stick in matched grip or right-hand traditional grip.) Throw the bead down using the wrist and fingers for energy. Do not allow the stick to rebound. Control the rebound by slightly gripping the stick with the fingers. Finish with the bead 1"-3" from the head.‘The timing of the grip that controls the rebound is very important. Gripping #20 soon will create a very tense or buzz stroke. Gripping 00 late will allow the stick to rebound too high and then finish low. Gripping vo fightly will make the stick shake back and forth. Strive for the bead to strike the head with a full sound and immediately freeze 1"-3" from the head. 1. Upstroe Begin with the bead in down position, 1"-3" from the head. Without using a prepara~ tion stroke, simply drop the bead to the head and lift to the up position, as if touching ahot stove. This isa soft-volume stroke. At slower speeds, use primarily wrist motion. ‘At faster speeds, incorporate more finger control, Upstroke Summary: Start down. Finish up. A soft-volume stroke 4. Stroke Begin in down position 1"-3" from the head. Use a relaxed grip and allow the wrist to bounce with the stick only between 1"-3" from the head. Tap strokes are soft-volume strokes. Very little finger motion is needed. ‘Tap Stroke Summary: Start low. Finish low. Let the wrist bounce with the stick. Low, relaxed soft-volume strokes.Special Notation Instructions Accented Notes ALL ACCENTED NOTES should be played as DOWNSTROKES. wa ‘When more than one accented note is played in succession, natural strokes should be played until the last accented note > > atl stoke natal svoke downstoke Upstroke Arrow All notes with ARROWS POINTING UP should be played as UPSTROKE slower tempos, these upstrokes should be played very deliberately and precisely, much close attention. As tempos speed up, these strokes should become more smooth and flow very naturally 7 ec Rim Shot Pull the stick back so that the bead is halfway between the center and the edge, and then strike the head and rim simultaneously.Rim Click Strike the stick on the front rim of the drum, Stick Click Strike the right stick against the left stick, Stick Shot Press the left bead firmly into the head and strike with the right stick on the neck portion of the left stick. aTips jor Perfect Practice “Practice does not make perfect, perfect practice makes perfect.” —Vince Lombardi 1. Always use the Groove Tracks on the CDs or use a metronome. 2. The Approximate Starting ‘Tempo (A.S.T.) is just that, a suggested beginning tempo. All levels of players should begin at or near this slow tempo so that they can pay close attention to correct sticking, rhythmic accuracy, stick positions, and stroke types. 3. Gradually speed up each exercise in increments of 5-10 beats per minute. 4, For each exercise, practice the first line of sticking for a span of time before switching to the second line of sticking. Do not imme- diately switch to the second line on the repeat. . Repeat each exercise 20 times before continuing to the next. . Play every exercise at a wide variety of dynamic levels. . Alternate between practicing on a practice pad and drum. sowfter many years of teaching and performing the rudiments in a wide variety of A situations, [ have grouped the rudiments in a number of different categories based on different criteria. These criteria are: 1. Order of difficulty 2. General frequency of use 3. Top 20 suggested teaching sequence ‘These lists are my personal opinion, and there could easily be variations based on each individual teacher and student situation, Please use these lists as a guideline. Rudiments in Order of Difficulty (oy — 40D I 1 Single Stroke Roll 2. Single Stroke Four 3. Single Stroke Seven 4. Single Paradiddle 5. Double Paradiddle 6. Triple Paradiddle 7. Paradiddle-Diddle 8, Multiple Bounce Roll att 9. Double Stroke Open Roll 10. 5 Stroke Roll 11.7 Stroke Roll 12.9 Stroke Roll 13. 13 Stroke Roll 14. 17 Stroke Roll 15. 10 Stroke Roll 16. 11 Stroke Roll 17. 15 Stroke Roll 18. Flam 19. Single Drag (Ruff) 20, Single Drag Tap 21. Double Drag Tap I 22, Lesson 25 23. 6 Stroke Roll 24, Single Ratamacue 25. Double Ratamacue 26.Triple Ratamacue 27. Drag Paradiddle #1 28. Drag Paradiddle #2 29, Single Dragadiddle 30, Flam Accent 31, Swiss Army Triplet 32. Flamacue Iv 33. Triple Stroke Roll 34. Flam Tap 35. Flam Paradiddle 36. Pataflafla 37. Single Flammed Mill 38. Inverted Flam Tap 39. Flam Drag 40. Flam Paradiddle-DiddleRudiments listed by General Frequency of Use Most Frequent Less Frequent Least Frequent Single Stroke Roll Flamacue Flam Paradiddle-Diddl Double Stroke Open Roll Double Drag Tap ‘Ten Stroke Roll 5 Stroke Roll . ‘Triple Paradiddle Eleven Stroke Roll 7 Stroke Roll Flam Paradiddle Fifteen Stroke Roll 9 Stroke Roll Drag Paradiddle # 1 Single Flammed Mill Flam Drag Paradiddle # 2 Flam Accent Single Ratamacue Drag (Ruff) Double Ratamacue Single Drag’Tap ‘Triple Ratamacue Paradiddle ‘Triple Stroke Roll Double Paradiddle Pataflafla ‘Thirteen Stroke Roll Inverted Flam Tap le Stroke 7 Flam Drag ingle Stroke 4 Single Dragadiddle Multiple Bounce Roll Six Stroke Roll 17 Stroke Roll Paradiddle-Diddle Swiss Army Triplet Flam Tap Lesson 25 Top 20 Suggested Teaching Order 1 Single Stroke Roll 2. Single Stroke Four, Single Stroke Seven 3. Single Paradiddle, Double Paradiddle, Triple Paradiddle 4.Flam 5. Double Stroke Open Roll 6. Five Stroke Roll, Nine Stroke Roll, Seven Stroke Roll gle Drag (Ruff) 8, Multiple Bounce Roll 9. Single Drag Tap 10. Lesson 25, 11. Flam Accent 12. Thirteen Stroke Roll, Seventeen Stroke Roll 13. Flam Tap 14. Flamacue 15. Paradiddle-Diddle 16, Swiss Army Triplet 17. Single Dragadiddle 18. Six Stroke Roll 19. Flam Paradiddle 20. PataflaflaGroove Tracks 1. Rock It a g=72 CD1-Track 1 2. Pow Wow a 2 =80 CD1-Track 2 3. Desert Dream a 2=90 CD1-Track 3 4.Autumn Breeze % J=100 CD1-Track4 5.SaharaShade 42 J =110 © CD1-Track5 6. Old School : J=112 © CD1-Track6 7. Boogaloo a 22120) CD1-Track7 8. Modibo Bo =140 CD 1-Track 8 9. Drum & Bass a CD1-Track 9 (Arranged by Johnny Rabb) 10. Jungle 4 }=180 CD1-Track 10 (Arranged by Jobnny Rabb ‘The following two examples illustrate the use of the Groove Tracks with the exercises: 11. Old School with Single Paradiddle Exercises 4 J=112 CD1-Track 11 12, Modibo with Flam Accent Exercises 2. = 140 CD1-Track 12 ‘The CDs also include ten Groove Tracks to be used in conjunction with playing the exer- cise portion of the book. The Groove Tracks offer a number of different tempos, styles, and feels so the player can practice various exercises to an accompaniment of his or her choice. ‘The CDs are of paramount importance because the player can now practice interacting as a member of a musical ensemble with a musical intent. Generally speaking, rudimental exer~ cises can tend to sound and feel robotic. The CD accompaniments help the player stay out of the robotic frame of mind and encourage playing with musicality, groove, and feel. The accompaniments also act as a metronome, helping the player gain a solid sense of pulse while allowing him or her to have fun playing along!savage Rudimental Workshop gle Stroke Roll 4. + Use very relaxed natural strokes for all single stroke roll exercises. Remember to be patient. Start the exercises at a slow tempo. Use a metronome or the Groove Tracks and play through the entire exercise before speeding up to a faster tempo. At the first sign of tension, slow down a bit, stay relaxed, and then attempt the faster tempo once again. Approximate Starting Tempo: 4 = 80 THARAARARRRARRRR EELLULLLeLetee, Ee: 2 RRRR CODESavage Rudimental Worksh« Single Stroke Roll 4. + Try not to accent the eighth notes. Work on smoothly inserting the left strokes when playing the right-hand lead and vice versa 6. * Keep the right and left strokes at the same height and volume for smooth singles. RURCRLALRARR RURLRLRLRRAR RURLALALALALALAL RRLRRLRALARL URURURURLULL URCRURLRELLL CRERERLRURLRLALR LLRLLRLURLLR i 8. » This is an incredible exercise for inserting that right or left stroke in between the constant eighth notes. RRRCRRAARLR RARRLARCRAL RARLRRARLR RRLR ELURLLLLERL LULERLERLLR LELRELLLAL LLRL 9. * When first practicing this exercise, it may be helpful to focus on the half-note pulse first. When this becomes comfortable, incorporate the quarter-note pulse. Vary this exercise by playing measures 1-10 and then in reverse, 10-1, with no stops in between. —=—— RL URSingle Stroke Roll Dedicated to Jim Peteresak ‘Mat Savage © Relax and Roll With It 2 = TURURCARURLACAL ALALAALALALLARLALACALRLL RRURLALALARLALRLAL TR RURUR RURUTR RURALR LRURL LALRL LALLAL P B RURLRURLRLALRURLRLRLAL TLRLAURCALALRURTALAL RURCRUALALALALALRLR DeTPLLLLALALRURURURURURE RURCRURCALALRURCALAL RARALLLURERLALRLA 2 TULL “WRAR CLC RRM UCLURCACRCAL RRR COCO = RRARURURERLA CRARALLLLALALRLALAL ALALALRURURLRURURLRLALALTe Single Stroke Four 1. + The quarter note should be played as a downstroke but NOT as an accent. Approximate Starting Tempo: « = 110 at at at at T Epes RR RR corrR toe To WRG R-GERAL Rl CU RPER & Gan tga 2. + Finish each group of triplets with both sticks in down position. + Each group of triplets begins with a preparation lift stroke for each stick. 3 2 ggg R ® RLARLARLR t U ERURERL T R TR RL TL Rt OER tk 3. + In this exercise, measures 1 and 3 are check patterns. * Measure 2 is a primary stroke variation. 2 2 RL R RL R LR, ty LA Rt R L T ® CR LR t i R Rt R LR TRE RL CR GR ot RUR LR 4. + Notice the similarity in single-hand motions between measures 1 and 2. RL UR 5. + Keep the eighth-note rhythmic flow consistent throughout the following exercises. Approximate Starting Tempo: « = 70ee Satin Single Stroke Four ‘Matt Savage with Joel Gagne, 1993, Dutchboyi -Sebeheceo i aes Single Stroke Four SS. ‘Matt Savage RRL AR RR Ct URL RURLT ROR TRE RURCRURTR LC soe ee eh fpecta= ye Tiare yaa aaa a] aaa RRL tRTAL tA RURTA AULRT RIAL RURT RR URL —— —$ P Ret Rt RURL CR UCRUR TAL RIRL RURIRL RURUCRL RURAL mf sah indaeta RURCRLRURCRL CRURURCRLIAL RURLR LCALRL RURCRLRL 3 2 2 2 Ce el eS fae a a aaa aa ae a aa aa aaa a LAURE — sf 2 R UR URURER CRURLRURIRIRIR P RORCR UCRCRL ROCRCRTRCRTRL RURCR UCRUAL LCULLRLRL Rim FCRORCRALCL. CRURURURURTRE RURTRURALL RURCRURIRIRIR 2>>> > 3 > >_> > >> aoe o> a> PS AS BS eS ee ee ee ae [alana ae awa aa S RU AURE R URC R L RURURL RURL A LC -ALAL R URUALR URURURARL 1 i 1 il,[RET ee aces Single Stroke Seven The type of strokes used in these various exercises for the single stroke seven will vary greatly. The majority of strokes will be natural strokes. Try to use relaxed natural strokes when- ever possible in these exercises. 1. + All exercises from the Single Stroke Four section. 2. + The quarter note should be played as a downstroke but NOT as an accent. + The triplet should be played with very relaxed natural strokes. ‘Approximate Starting Tempo: gwd 2 ROR RR RRR bouie te 3. + The last two strokes should be played as downstrokes but NOT as accents. ‘Approximate Starting Tempo: J = 110 34 Ls 6 == a4 : i T R 6. Approximate Starting Tempo:Savage Rudimental Workshop} Single Stroke Seven ae ee a 2 2 ap Ae 10.z z Single Stroke Seven mey Singlets * Dedicated to Joe Wormworth Matt Savage TR UCURARL RRRURLLURL RU RURURURL UR pees ee ok i | fe aa dna RURTRURCRURUAL RURLRLALRURLALAE AL URUERLRLR FLRL URRURL UR =e RURUCR RURCRL CR ALAL CALALA RUALAL RLRLA RLRLALALA >, c > > > paca reg Pee ee ee ee Sa a a SLR oR tosac RIRURR ® ROR —RIERURL RUR t R T RRRRURL LURE RE TR ® Suen, ® ER ee ms. oe nanhnns T TRO T RURTRLRMA Long Roll 1. +All strokes should be full, relaxed natural strokes. Use the same relaxed natural stroke for the eight eighth notes as well as the two eighth notes. Approximate Starting Tempo: RRRRRRRR CLLLLLIL RRRRRR CLLLLL RRRR LULL a aaa cs a aaa aaa ER fee ae] RRRR LLLL RRRRRR TOLLE RRRRRRRR CLULLLIL 2. « Strive forall very strong forte strokes. Approximate Starting Tempo: 4 = 90 pees ERR RR RE RR RR RAR R PIES Lb Cee tee Le 3. + Make sure each double stroke and single stroke finishes in the up position using natural strokes. 28Savage Rudimental Workshop Long Rol 4, « Remember to use the same natural stroke technique here as in Exercise 1 + Finish each double in the up position, ready to begin the next double. + Make sure the second stroke in each double is as loud as the first and rebounds to the same height as the first. Approximate Starting Tempo: RR tt RR RR RR EE tL ef we 5. + As these double strokes are played faster, the fingers and wrist move gradually less and less. The fingers must be fixed to a specific firmness (as in a firm spring) and an up-and- down forearm motion is used to set the stick in motion. “Micro-muscle” adjustments are needed to perform these doubles at slightly different tempos, Hours of experimenting and repetition are needed to master this technique. 6. + Itis important to keep the eighth-note pulse consistent between single strokes and double strokes. Approximate Starting Tempo: RRAR RR RAAR AR RARRRAR AR AR AR teu cou ett Wo wou 7. + Be sure to keep double strokes sounding very open and ful. Approximate Starting Tempo:Sota aceoeur Long Roll RURUERRLLRL RLRCRALLAL RURRLLRAL v TRRLL CRERCCRROR CRERCCRRCR CRERCUERRCCRR CRURCURRULRR 10. + Gradually accelerate from very slow to very fast double strokes. Remember, as you play faster, use less wrist and finger and more arm motion with a fixed grip. ‘Matt Savage, 1981, Bridgemen[Savage Rudimental Worksh Long Roll Long Roll Samba ‘Matt Savage RR AR AR RR Ltt tL ct t RR RAR AR A AR tt tr tt tie Irs SR ORR REL IL UR R AR AL LLL CARR ALL RA REC RALURRLL >, > >>>>>>>> >_> > >3> 235 >S 2335 >>D>> > ee SS RRCCRRECR Cw mRC RAE OR COR RRTUWRTT FTIR CER CURRE >> Site og Hh RRUURRL RRLLR RRULURALURALURALL f = SS SS = Soy es) F FREERECE PAIR RURL R ETT RURLR RURL 25 soo SSS Se pe PER LU RURCARLER RA RCCCL RRLTOUARRTC RALERRELRALL >> RRUURALIRALUAALE RURCACRURURE RURURTRURURUATAL R R RIURFive Stroke Roll 1. + All exercises from the Long Roll section. 2. + Play double strokes as full natural strokes, starting and finishing in the up position. + Make sure all unaccented strokes are the same volume. Approximate Starting Tempo: 4 = 80 igi Che RLS A Loe PRs RLU Reo eC GR e ROG RL RL ORRUSR CER Lt 4. + Strive for full double bounces. > > > > Ret Rf CoN ReECR OR LER CeRock UR hae USRARGL ok oR RL RotaRgele RoE ROLL RS SCR IREL 5. + Play double strokes as full 6" natural strokes, starting and finishing in the up position. RR tee 6. + For this exercise, begin with both sticks in the down position. Use a preparation stroke to begin each rhythm. > > > >(EYE ae /e Stroke Roll identical to beats 3 and 4. Bocca ‘he notation in measure 2. Beats 1 and 2 are pla ‘Seproximate Starting Tempo:Rudimental Workshop} Five Stroke Roll Hi h fi Matt Savage RURRE AURAL CURTIRAL RAIL RORRCR LCR L CCRLURAL A AALUR R CARCERLTRLCRALL ee Sree ee eee > RRL CRRCTR R LCR RURAL ALR RURRURCA LLRURURL L ~RUERURLER R R R TRURCURL RURCRCRCRCRCE RERCRCRCERE . a >_> > 2 =o > TROUT ORR RRR > > > es > >>>Six Stroke Roll 1. + All exercises from the Long Roll section. 2, + Measures 1 and 2 are primary stroke patterns for the six stroke roll. + Keep unaccented notes low and relaxed. ‘Approximate Starting Tempo: 4 = 80 Sh Ss al. ® OR R LR Pek ete Rk Approximate Starting Tempo: J = 70 es > 2 ee Siaiay © L R C T R 5. «Be sure to keep diddles unaccented. >>> > S> >> >_> R ® t USix Stroke Roll 7. + Measure 1 is the slow primary stroke pattern for the six stroke roll. Measure 2 is the actual six stroke roll Approximate Starting Temp. > >> > > >> > 8. + This exercise shows the various ways of notating the six stroke roll Approximate Starting Temps 70 >> > e> > 2>__5>_ >