Instead of the typical slashes on the stem.PROBLEM #3 - THERE’S A BETTER WAY TO FEEL THE TIME. In marching band, rolls are usually open, with closed, or buzzed rolls usually indicated with “Z” AnĮxception would be marches, where open rolls are the usual choice. In a concert band or orchestra environment, generally speaking, closed rolls are preferred. Technique to the skeletal pattern exercises.īelow are a few exercises to help familiarize students with these three roll types. Once a consistent double bounce is produced, apply that Increase the amount of squeeze at the fulcrum and lift with the wrist/back fingers sooner to Starting with the fulcrum and multiple bounce exercises above, Each separate bounce or tap is counted as a “stroke”.įrom this point, students can start developing both smooth closed rolls, and doubleīounced open rolls. Rolls are named for their open stroked, rudimental interpretations, in which each doubleīounce represents two 32nd notes. Why are these rolls named the way they are? Make sure that multiple bounce strokes are at the same height/volume as the skeletal pattern. A slash through the stem indicates a multiple bounce stroke. Now add multiple bounce strokes to each of these patterns. Focus on producing a smooth and steady sound from hand to hand. It is important that all strokes in each pattern are at the same height/volume. Play each pattern with alternating sticking, but start each pattern on the right hand (or stronger hand). Practicing the three patterns below will help with the three most utilized rolls. The key to playing metered rolls is understanding the skeletal pattern associated with each one. Use this technique on the following exercises: Here, the multiple bounce, or “buzz” is indicated by a “ z” on the stem. Once the student can effectively produce a multiple bounce on each hand using fulcrum only, add the back two fingers, keeping them loosely on the stick during the downstroke and bounces, then gripping slightly on the upstroke wrist motion. Many bounces as possible before lifting the stick. Using both the first and second fingers along with the thumb. The amount of bounce can easily be varied by squeezing less at the fulcrum. Thumb and first finger and play a downstroke, holding the stick down with the weight of the wrist. The upstroke is controlled by a combination of wrist motion and gripping with the back two fingers.Ī good way for students to experience the fulcrum is to have them hold the stick with only the The grip is controlled in two places: mostly at the fulcrum (between the thumb and the first and second fingers) and with the back two fingers (mostly on the upstroke). Downward pressure is maintained by the weight of the hands, and controlled by wrist motion. The multiple bounce stroke is controlled by the amount of downward pressure applied, the amount of grip, and the upstroke required to set up for the next stroke. The concept of the multiple bounce stroke is that in one stroke, many bounces are produced (anywhere from 2 to 5 or more). Only after students are very comfortable with the rebound stroke should they be introduced to multiple bounce. These simple exercises can be used to develop the rebound stroke: It is a wrist motion – do not let students play this stroke using only finger control (you can tell if the top of the hand is not moving) – but students should not grip the stick so tightly as to restrict the natural rebound of the head. There should be enough weight applied on the downstroke so that the head helps the momentum of the upstroke. The stick should move smoothly down and up, and all fingers should remain loosely on the stick. The rebound stroke is the main stroke used for all single strokes. These rolls are introduced as “closed” rolls (using multiple bounces), from which the student can transition to a double bounce “open” roll. The keys to this method are starting with a good fundamental rebound stroke, developing a consistent multiple bounce on each hand through the use of fulcrum and finger grip, and understanding the “skeletal” pattern behind the three most used metered rolls (5 stroke, 9 stroke, and 17 stroke). There are several approaches to developing rolls in beginning method books, but I have found this approach to work best with my students. Developing rolls is an important element in young percussionists.
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