With this latest book, Dennis Johnson offers us an exciting and challenging compilation of rudimental drum solos.
Yes, this is, as stated, an advanced collection; but there are some only moderately difficult pieces. One piece, "The Old Timer", which is dedicated all of those over 40, is an updated variation of old time traditional rudimental drum pieces and reminiscent of “The Downfall of Paris”, “Hell on the Wabash”, “The Connecticut Half-time” and others.
Dennis champions his flams – being well representative in all his etudes – especially (and obviously) in his, “You Want Flams With That?”
It’s a testament to Dennis Johnson’s creativity to be able to compose an interesting and technically helpful drum score using primarily, flams!
I also very much like his use of 32nd note duple (or triplet 16th note) entries into his paradiddles phrases – very effective and great exercise!
Some of the solos in this book are affectionately dedicated to Dennis’s family members: his wife – “The Porcelain Doll”, his son – “Solo for David”, his dad – “Kenny Boy”, friends and even his cats – “Three’s a Crowd” and “Katula”!
Dennis Johnson has spent the last two-and-a-half decades teaching and arranging for school bands throughout the State of Alabama. He studied music at Auburn University where he performed in marching band, wind ensemble, symphonic band, jazz band and the percussion ensemble.
He marched for the DCI drum and bugle corps, The Spirit of Atlanta, under Tom Float.
Dennis is now on the threshold of a new career as a drummer for stage bands in the popular theme parks of Tennessee.
Pop into your player the DVD included with Advanced Rudimental Etudes for Snare Drum and see, hear Dennis Johnson perform the contents of the book and then know why any orchestra in the country would fortunate to have him.
Best to you Dennis on your new life in Tennessee!
See also, Dennis Johnson’s previously published, Let’s Learn to Drum – an excellent beginning snare drummers’ instructor.
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This second in my series of drumming exercises is focused on the development of skill and speed in performing diddles (as drags), accents and fast 5-stroke rolls.
This is one of the etudes I attribute to John Moynahan of the Connecticut Alumni Drum & Bugle Corps.
It’s fairly straight-forward in form: the first measure consists of all 16ths with an accent on the first beat; the second measure features the diddles on the beat; the third measure has the accent on beat and the diddle on the ‘e’ (these are basically Lesson 25′s); the fourth measure has 5-stroke-roll-taps which naturally moves the accent to the ‘and’. The last measure is a tap-roll played for the entire four beats and, on the repeat, into the first beat of the beginning of the exercise. Although not shown, it would hurt to play this last measure as a crescendo.
The exercise can be started slowly at about 100 BPM, accelerating gradually. Tempi of 130 BPM or faster should easily be attained with practice.
The down-side of this exercise is that it is "one-handed". To balance things out, after achieving sufficient skill with the right-hand lead, begin to practice it on the left-hand.
There are a few glitches and stutters in it, but the video below will give the basic idea of how it should be played. Good practice!!
I initially considered the idea of writing articles on, considering that I am a member of that demographic, stick exercises for geriatric drummers. Furthermore, I thought, since I have always struggled with my drumming skills; have witnessed many great drummers in my life (and thereby know what drumming should be) I can give, possibly, better insight to nuance than naturally talented performers. I guess that falls into the area of: "those who can’t, teach!"
But looking over the exercises that I have learned over the last few years, I realize that they are universally applicable to drummers of all ages, genre, and skill level.
The first few exercises will be ones that I used with my short stint with The Connecticut Alumni Drum and Bugle Corps. The drills were extremely helpful for me in achieving some ‘dexterity’ for my left hand and certainly better speed. John Moynihan, the corps’ drum instructor/arranger, packaged these exercises with the drum line repertoire. Some of the pieces have their authors listed, which I will present with their publication. The ones without displayed authorship I will acknowledge John Moynihan as the source.
I have an incredibly poor left hand skill for a drummer. Without constant practice it can happen that I can barely repeat striking the correct spot on the drumming surface. And even with much practice the left-stick has a tendency to wander. This is most apparent when executing a two-stroke open roll..
So I have particular interest in the my first entry to the series of drumming exercises:
The idea of cleanly performing a double-stroke roll at speed is to quickly and evenly play two fast beats alternately on each hand. The problem lies in the need to strike a beat, then quickly recover whatever bound is resultant from that beat and immediately strike the second beat. At increased tempi, this becomes difficult for the weak hand. The first exercise I present below addresses the problem of the weak hand. Beyond that, it incorporates the ultimate target for the drill, the two-stroke roll.
(The exercise, in the copy I have, lists it as an “independence” type. Although I understand the implication of it being the exercise of the hands, independently, I changed the title for my first contribution to ‘isolation’ so as not to be confused with four-limbed independence as practiced for set drumming.)
The isolation exercise, also know as Singles-Doubles-Triple Combo, begins by isolating the hands starting with eight beats played by the right-hand for the first measure, switching to the left-hand for the second measure. The two measures are repeated.
The next two measures, or the ‘doubles’ section, have the hand executing sixteenth note figures to give the doubling effect. Again the hands switch when moving from measure three to measure four and the two measures are repeated. These two measures, alone, address the requirement for performing a quality two-stroke roll.
The next two measures are the most difficult. Here we are required to execute three quick bursts on each isolated hand. Besides being the most difficult, it is arguably the most beneficial. As can be seen, this section is very helpful in improving ones three-stroke rolls.
Measure seven (7) begins to put it all together with a four-count, sixteenth-note roll going directly into the thirty-second note rolls of measure eight (8) which, as indicated, should be played as a crescendo to the accented quarter-note of the first beat of the last measure.
Although this final measure shows rests for the remaining time within, I usually make the final beat of the thirty-second note rolls, the first beat of measure eight (8), the first beat of measure one (1) for the next time through. However, I present the etude below as written. Perform it whichever way is comfortable for you.
The suggested time signature of 80 BPM is rather slow but for the first time through, it’s a good start. I advise using a metronome. It provides discipline and lets you know where you are in your line of progress. Obviously, as the piece feels comfortable at a specific tempo, gradually increase the metronome setting. Although it is a bit to fast for me, I suggest 128 BPM as a goal.
Practicing Rudiments:
I don’t intend to present this and other future published exercises as substitutes for actually breaking down the rudiments. For example, still the best way to master the long or two-stroke roll is to start slowly, gradually and evenly increase speed to just where execution falters and then decelerate back to the starting speed, again, gradually and evenly until stop. A minute-and-a-half in and a minute-and-a-half out is a good timing consideration for this roll and all other rudiments. This method should be repeated attempting to gain more speed and quality execution.
The exercises should be considered adjunct to practicing rudiments. For example, with this article’s exercise, the double and triple beat hand isolated drills will develop the skill to quickly and precisely recover between beats that will lead to better speed and accuracy when executing rudiments.
A good practice regimen might be to perform the list of exercises, then close and open the two-stroke roll followed by whatever rudiment that you may feel needs the work.
I have added audio player capability for the exercise (a play button is located below the notation). The audio was generated from the notation software and it is obvious that the snare sound for the thirty-second note roll in the last measure is not a two-stroke roll. It is a crush-roll sampled from a percussionist in the London Symphony by the software company. It was expedient to use the audio available rather than recording my own version. I may reconsider the audio issue with the subsequent articles. I might consider creating videos.
I thank the Connecticut Alumni Drum and Bugle Corps and specifically, John Moynihan for this exercise.
I hope this and the subsequent exercises will helpful in improving your overall drumming ability. They have helped me considerably.
Please leave any comments or suggestions in the space allocated. I will be happy to hear from you.
