570:
rudimental drumming, open rolls, consisting of double strokes, are often measured out to a specific number of strokes. A 3 stroke roll is the shortest possible open double stroke roll, but is commonly referred to by the specific name "Drag," "Ruff," or "Half Drag." Typically, any roll with an odd number of strokes is played with a single accent and any roll with an even number of strokes is played with 2 accents. This patterns holds for the 5 Stroke, 6 Stroke, 7 Stroke, 9 Stroke, 10 Stroke, 11 Stroke, 13 Stroke, 15 Stroke, and 17 Stroke Rolls of the PAS 40 rudiments. Note that some numbers between 5 and 17 are missing. These additional rolls are possible and are taught in modern hybrid drumming and in older pre-NARD rudimental systems, as well as those from other countries, notably the Basel and Scotch cultures. For example, the 8 Stroke Roll is present in the
Moeller Book from 1925 but is lost in later publications. The 4 Stroke, 8 Stroke, 12 Stroke, 14 Stroke, and 16 Stroke are rare but all exist in official published sources. The Scotch Pipe Band style has a rudimental roll up to 25 strokes. This provides the drummer with a consistent set of rolls from 3 to 17 plus the 25, with any other number being an extrapolation from this system.
821:
subsequent, at the bottom or end of the down stroke motion, the rim is contacted approximately 1 inch in front of the thumb and forefinger. Contact with the rim rocks the front portion of the stick upwards from the point of contact with the rim. At this moment, the wrist is located just below the rim and the bead is a couple inches above the head. From the bottom of the down-stroke, the hand is then raised for the upstroke. While the hand raises, the bead of the stick is returning toward the head after its bounce off the rim. As the raising hand and falling bead reach the same height, the head is struck for the second time. This creates two beats contacting the drum head out of a single stroke motion of the arm. The precise moment of contact with the rim momentarily creates a new fulcrum at the drum stick's physical point of contact with the rim. This is one of the easier and more commonly used forms of a "one handed roll". When executed with precision, this doubling of contact means 16th notes can be played while the arm only strokes 8th notes, or 32nd notes can be played while stroking only 16th notes. The technique is also known amongst many drummers as the
261:
205:
149:
529:
play in time with the beat of the music and so a regular subdivision, such as 8th note triplets, 16th notes, or 16th note triplets must be chosen and maintained. The drawback of metered rolls is that the ideal rolling speed (for the player, the room, the sticks, and the instrument) may lie between exact subdivisions, depending on the tempo, and the sound quality may vary by tempo. The benefit is that it makes all the rolls fit neatly into the music in time and is easier to count. Unmetered rolls require the player to perform the best possible sounding roll they can, whether or not the arm movements correspond to the musical tempo. The drawback to this approach is that the player must count the beats of the music independently to, and in complete disregard of, the speed of the roll and the corresponding arm motion. The benefit is that the roll sounds optimal and smooth at any tempo. The metered closed roll should not be confused with the open or measured roll, as described below.
525:
instrument which inherently produces a short, staccato sound. Because a multiple bounce stroke on a drum head loses energy, and volume, with each successive bounce, it is necessary to use special tactics and techniques to mitigate the loss of sound and cause the repeated notes to sound even. This involves the arm, the wrist, and the fingers. One way to mitigate the loss of sound is to overlap the 3rd bounce from one hand with the first bounce of the next in the manner of a Flam Tap, only much faster and smaller. The loud first bounce occurring closer to the quiet 3rd bounce from the preceding hand give the illusion that the bounces have a more even volume.
470:
616:
625:
479:
271:
215:
159:
289:
233:
177:
290:
234:
178:
405:
42:
92:
280:
224:
168:
833:
A tremolo in percussion indicates a roll on any percussion instrument, whether tuned or untuned. A tremolo is notated using strokes, or slashes, through the stem of a note. In the case of whole notes, the strokes or slashes are drawn above or below the note, where the stem would be if there were one.
528:
There are many interpretations of concert rolls and while the variations result in a similar rolling sound, there are subtle audible differences. One major point of differentiation between rolling techniques is between
Metered and Unmetered rolls. Metered rolls require the players arms and wrists to
370:
The roll consists of an even reiteration of beats sufficiently rapid to prohibit rhythmic analysis. To produce an impression of sustentation, these beats must be absolutely even both in power and in sequence. Uneven beats in a roll destroy the impression of sustentation. Evenness is then the primary
790:
on timpani require a faster roll to maintain a sustained sound; some timpanists choose to use a buzz roll on higher notes at lower volumes; although there is no definite rule, most timpanists who employ this technique do so on a high "G", and above. In the end, it often comes down to the discretion
900:
Depending on the sheet music, individual notes with labeled sticking patterns can also be rolls. These rolls can be single stroke rolls, double stroke rolls, triple stroke rolls, or any multiple bounce roll variation. Rolls that don't use tremolos typically incorporate different articulations and
524:
roll is the closed roll. The closed concert roll (orchestral roll, buzz roll, or press roll) is performed by creating 3 (or more) equal sounding bounces on each hand alternating right to left, repeatedly and quickly. The aim of a closed roll is to reproduce the effect of a sustained note on an
820:
The fulcrum roll, or freehand roll, is a roll in which the rim of the drum momentarily replaces the original finger-created fulcrum. Thus is qualifies as a dual-fulcrum or multiple-fulcrum stroke. The initial stroke creates contact with the drum head in a relatively normal manner. Immediately
745:
Also, the six-stroke roll is often used in snare solo and marching percussion situations and is a favorite for jazz and rock drummers. It has four variations; each note is equal in length and consists of two double strokes (RRLL) and two singles (R L). The strokes are most commonly taught as
569:
roll" or "long roll") is played with double strokes alternating between the left and right hands. Using a forearm stroke for the first and the fingers for the second stroke, the 2 strokes can be made to sound identical. This produces a near-continuous sound when the technique is mastered. In
287:
231:
175:
497:
643:
781:
are almost exclusively single-stroked. Due to the instruments' resonance, a fairly open roll is usually used, although the exact rate at which a roll is played depends greatly on the acoustic conditions, the size of the drum, the pitch to which is it tuned and the
95:
360:...Sustentation is accomplished upon wind instruments by blowing into the instrument; it is accomplished upon the violin and the allied instruments by drawing the bow across the string; it is accomplished upon the drum and allied percussion instruments by the
94:
99:
98:
93:
100:
498:
288:
232:
176:
811:
To get these faster rolls, percussionists (keyboard, snare and timpani) all often use the muscles of their fingers instead of those of the wrists. The fingers have a shorter rotation length and can move faster with less effort than the wrist.
644:
97:
803:
than plastic ones can be on a xylophone, because the extra reverberation of a marimba will mask the silent gaps between strokes. For this reason, the rolls can be much slower and still effective. But for xylophone and
495:
641:
129:
381:
The "open roll" is produced by slow hand alternation. Two strokes in each hand alternately are produced by wrist movement and each beat should follow its predecessor in clock-like precision.
118:
96:
834:
For the case of a snare drum and some other percussion instruments, rolls may be indicated by individual notes or with the use of tremolos, depending on the sheet music's notation.
808:
a much swifter roll is required, especially for rubber or plastic mallets. A brass mallet used with orchestra bells will add extra vibration to aid in the smoothing of the sound.
573:
The snare drum was the standard for military communication from about 1700 to the 1860s, and a list of
British army drum calls from 1800 included the long roll as a call to
1008:
260:
204:
148:
799:
These are similar to the timpani rolls in that they are done nearly the same way and are both single-stroked. Yarn mallets usually can be rolled much more easily on a
496:
642:
415:
873:
In a 4/4 time signature, a triple slash quarter note would entail playing double strokes for two eighth notes with a single slash each, or four sixteenth notes
488:
60:
1320:
426:
634:
837:
In percussion, three types of tremolos may be seen in sheet music; a tremolo with a single, double, or triple slash going through the stem:
749:
French and Dutch drumming include several variations on rolls with an uneven number of strokes between the hands. For example, the French
1573:
1109:
374:
There are two possible ways of producing an absolutely even sequence: (1) hand alternation of single stroke and (2) hand alternation of
1837:
897:
In the case of a half note or whole note, it's common to play alternating double stroke sixteenth notes for the duration of the note.
604:
Other than the open roll, there are many other rolls and rudiments that sound like rolls when they are played fast enough (like the
1012:
1672:
1583:
1313:
825:, though gravity is not required as the technique can be performed inverted, sideways, or in a gravity free environment.
1292:
982:
444:
78:
973:
953:
1634:
1306:
867:
indicates four diddles, playing two double strokes twice from each hand, that subdivides the note into eight.
1639:
1064:
1417:
546:
Scotch - Buzz Roll, stroked rolls 5 through 25 (metered closed rolls in
Scottish tradition), and Trizzlet
1629:
1563:
1502:
1665:
1558:
1407:
419:
that states a
Knowledge editor's personal feelings or presents an original argument about a topic.
1842:
1568:
1512:
889:
A single slash sixteenth note would entail playing one pair of double stroke thirty-second notes
1180:
1482:
857:
indicates two diddles, or two double strokes from each hand, that subdivides the note in four.
844:
indicates a diddle, or two double strokes from a single hand, that subdivides the note in two.
1116:
1522:
1517:
1332:
1422:
1346:
671:
356:
881:. A double slash eighth note would entail playing double strokes for four sixteenth notes
469:
8:
1771:
1658:
1609:
1604:
30:
615:
1816:
1746:
1578:
1532:
1527:
1492:
1381:
578:
350:
105:
1761:
1721:
1371:
1288:
985:. "The purpose of the roll is to sustain the sound over the value of a written note."
978:
667:
1696:
1542:
422:
137:
The rhythm of a snare drum roll may be notated explicitly or as three-line tremolo.
56:
1241:
1806:
1766:
1487:
1402:
924:
386:
20:
1786:
1776:
1736:
1614:
1599:
1497:
1472:
1452:
1442:
1376:
1038:
533:
1831:
1731:
1706:
1537:
1507:
1477:
1462:
1361:
1329:
929:
822:
787:
574:
375:
371:
quality to strive for in roll; speed is the secondary quality to strive for.
329:
344:
All drum figures are based upon three fundamental beats, technically called
128:
1756:
1741:
1726:
1711:
1624:
1467:
1437:
1427:
1412:
1386:
1351:
805:
337:
1781:
378:...The snare drum roll is produced by hand alternation of double strokes.
1796:
1685:
1650:
1447:
1366:
566:
1298:
536:
that are similar to, or precisely like, a concert closed roll include:
1811:
1751:
1701:
1457:
919:
914:
783:
656:
609:
521:
510:
463:
302:
246:
190:
117:
1681:
1619:
1432:
540:
American - Multiple Bounce Roll, Triple Stroke Roll, and
Crushed Ruff
1110:"A Study of the Rudiments Used in Foreign Military Drumming Styles"
581:
the long roll called the troops to assemble and signaled an attack.
1791:
800:
778:
333:
753:, or mixed stick, can be played in repeating combinations of 3:
1716:
1227:
666:
In the table below, lower-case letters represent grace notes (
1090:
1088:
1009:"The Basic Principles of the Modern Concert Snare Drum Roll"
1181:"Investigacion sobre los Tambores y Bombos del Bajo Aragon"
1142:
Marsen en
Signalen voor de Koninklijke Nederlandsche Armee.
954:
The
Gardner Modern Method for the Instruments of Percussion
416:
personal reflection, personal essay, or argumentative essay
1215:
Moeller, Sanford. The Art of Snare
Drumming. Ludwig, 1925.
815:
462:"Closed roll" redirects here. For the English record, see
1085:
1065:"ORCHESTRAL SNARE DRUM PERFORMANCE: AN HISTORICAL STUDY"
1044:. ACADEMY OF MUSIC AND DRAMA, UNIVERSITY OF GOTHENBURG
29:"Long roll" redirects here. For the bread roll, see
51:
may be too technical for most readers to understand
590:Again to my listening ears the cannon responsive.
1829:
1666:
1314:
1062:
1574:National Association of Rudimental Drummers
1285:Snare Drum Rudiment Dictionary: Handy Guide
1680:
1673:
1659:
1321:
1307:
104:Visual/audio example of the drum rudiment
1328:
947:
945:
445:Learn how and when to remove this message
79:Learn how and when to remove this message
63:, without removing the technical details.
1239:
1063:Gauthreaux II, Guy Gregoire (May 1989).
967:
965:
963:
614:
468:
90:
1156:. Mexico: Secretariat of Defense, 1999.
1032:
1030:
816:Fulcrum roll/Gravity roll/Freehand roll
605:
1830:
1200:
942:
1654:
1302:
960:
61:make it understandable to non-experts
1584:Royal Scottish Pipe Band Association
1224:
1178:
1036:
1027:
903:although this is not always the case
588:Again the attacking cannon, mortars,
586:Again the long roll of the drummers,
398:
35:
704:Triple-stroke roll (or French Roll)
674:etc.) and hyphens represent rests.
13:
1277:
1201:Guizzi, Febo; et al. (2006).
957:, p.4. C. Fischer, Incorporated. .
623:
561:Eporedian (Ivrea, Italy) - Rullo
477:
457:
328:for short) is a technique used by
269:
213:
157:
14:
1854:
1838:Percussion performance techniques
1205:. Italy: Liberia Musicale Italia.
1107:
794:
655:Problems playing this file? See
639:
509:Problems playing this file? See
493:
403:
301:Problems playing this file? See
285:
259:
245:Problems playing this file? See
229:
203:
189:Problems playing this file? See
173:
147:
127:
116:
40:
1270:. New York: Hudson Music, 2018.
1260:
1233:
1218:
1209:
1194:
1172:
1159:
1147:
1098:. New York: Hudson Music, 2019.
772:
19:For the 1993 Russian film, see
1635:Drum and bugle corps (classic)
1287:, p. 2–10. Alfred Music.
1134:
1101:
1056:
1001:
988:
552:Mexican - Rau Tau and Redoble
1:
1640:Drum and bugle corps (modern)
998:. USA: JR Publications, 1967.
951:Gardner, Carl Edward (1919).
935:
555:Spanish - Redoble de Zumbido
7:
1154:Manual de Toques y Ademanes
971:Cirone, Anthony J. (1991).
908:
828:
558:Bajoaragonés - Los Rufaos
10:
1859:
1630:Indoor percussion ensemble
1564:Winter Guard International
1240:Aubrecht, Michael (2019),
1225:Sterling, Christopher H.,
974:Simple Steps to Snare Drum
461:
28:
18:
1692:
1592:
1551:
1395:
1339:
1283:Feldstein, Sandy (1980).
1559:Drum Corps International
1408:Charles Stewart Ashworth
394:
1569:Percussive Arts Society
1266:Bloom, Ryan Alexander.
1096:Encyclopedia Rudimentia
1094:Bloom, Ryan Alexander.
1072:Percussive Arts Society
1037:da Silva, Lúcia Viana.
565:The open roll ("double-
1169:. Canciones Del Mundo.
663:
628:
602:
517:
482:
425:by rewriting it in an
392:
336:for the duration of a
314:Example practice rolls
274:
218:
162:
109:
1722:Double- and half-time
1523:George Lawrence Stone
1039:"The Snare Drum Roll"
627:
618:
583:
481:
472:
367:THE SNARE DRUM ROLL.
342:
273:
217:
161:
103:
1423:George Barrett Bruce
1268:Live Drum & Bass
1179:Alquezar, Fernando.
869:RRLLRRLL or LLRRLLRR
16:Percussion technique
1772:Percussion notation
1610:Fife and drum corps
1605:Marching percussion
977:, p.30-31. Alfred.
786:being used. Higher
31:List of bread rolls
1579:Percussion Creativ
1533:Gardiner A. Strube
1528:Edward B. Straight
1493:Sanford A. Moeller
1382:Open, closed, open
1165:Bardaji, Andonio.
1015:on 28 January 2015
791:of the timpanist.
696:Double-stroke roll
688:Single-stroke roll
664:
629:
619:Quarter note roll
606:freehand technique
579:American Civil War
549:Dutch - Ra stroke
543:German - Druckruf
518:
483:
427:encyclopedic style
414:is written like a
275:
219:
163:
110:
1825:
1824:
1648:
1647:
1483:William F. Ludwig
1203:Pifferi e Tamburi
1122:on 7 October 2009
996:Rolls Rolls Rolls
849:
743:
742:
739:RRLLRRL- LLRRLLR
736:Seven-stroke roll
720:Double paradiddle
712:Single paradiddle
683:Sticking pattern
645:
499:
455:
454:
447:
291:
235:
179:
101:
89:
88:
81:
1850:
1675:
1668:
1661:
1652:
1651:
1543:Charles Wilcoxon
1323:
1316:
1309:
1300:
1299:
1271:
1264:
1258:
1257:
1256:
1254:
1249:, pp. 8, 12
1248:
1237:
1231:
1230:
1222:
1216:
1213:
1207:
1206:
1198:
1192:
1191:
1189:
1187:
1176:
1170:
1167:Bateria de Baile
1163:
1157:
1151:
1145:
1144:The Hague, 1815.
1138:
1132:
1131:
1129:
1127:
1121:
1115:. Archived from
1114:
1105:
1099:
1092:
1083:
1082:
1080:
1078:
1069:
1060:
1054:
1053:
1051:
1049:
1043:
1034:
1025:
1024:
1022:
1020:
1011:. Archived from
1005:
999:
992:
986:
969:
958:
949:
847:
728:Five-stroke roll
677:
676:
647:
646:
626:
600:
501:
500:
480:
450:
443:
439:
436:
430:
407:
406:
399:
390:
293:
292:
272:
263:
237:
236:
216:
207:
181:
180:
160:
151:
131:
120:
102:
84:
77:
73:
70:
64:
44:
43:
36:
1858:
1857:
1853:
1852:
1851:
1849:
1848:
1847:
1828:
1827:
1826:
1821:
1807:Rosanna shuffle
1688:
1679:
1649:
1644:
1588:
1547:
1488:Mitch Markovich
1403:Frank Arsenault
1391:
1347:Snare technique
1335:
1327:
1280:
1278:Further reading
1275:
1274:
1265:
1261:
1252:
1250:
1246:
1238:
1234:
1223:
1219:
1214:
1210:
1199:
1195:
1185:
1183:
1177:
1173:
1164:
1160:
1152:
1148:
1139:
1135:
1125:
1123:
1119:
1112:
1106:
1102:
1093:
1086:
1076:
1074:
1067:
1061:
1057:
1047:
1045:
1041:
1035:
1028:
1018:
1016:
1007:
1006:
1002:
994:Rothman, Joel.
993:
989:
970:
961:
950:
943:
938:
925:Tambourine roll
911:
831:
818:
806:orchestra bells
797:
775:
662:
661:
653:
651:
650:
649:
648:
640:
637:
630:
624:
601:
595:
592:
589:
587:
516:
515:
507:
505:
504:
503:
502:
494:
491:
484:
478:
467:
460:
458:Snare drum roll
451:
440:
434:
431:
423:help improve it
420:
408:
404:
397:
391:
387:Carl E. Gardner
385:
334:sustained sound
318:
317:
316:
315:
311:
310:
309:
308:
307:
299:
297:
296:
295:
294:
286:
283:
276:
270:
264:
255:
254:
253:
252:
251:
243:
241:
240:
239:
238:
230:
227:
220:
214:
208:
199:
198:
197:
196:
195:
187:
185:
184:
183:
182:
174:
171:
164:
158:
152:
141:
140:
139:
138:
134:
133:
132:
123:
122:
121:
91:
85:
74:
68:
65:
57:help improve it
54:
45:
41:
34:
27:
17:
12:
11:
5:
1856:
1846:
1845:
1843:Drum rudiments
1840:
1823:
1822:
1820:
1819:
1814:
1809:
1804:
1799:
1794:
1789:
1787:Rhythm section
1784:
1779:
1777:Purdie shuffle
1774:
1769:
1764:
1759:
1754:
1749:
1744:
1739:
1737:Drum tablature
1734:
1729:
1724:
1719:
1714:
1709:
1704:
1699:
1693:
1690:
1689:
1678:
1677:
1670:
1663:
1655:
1646:
1645:
1643:
1642:
1637:
1632:
1627:
1622:
1617:
1615:Corps of drums
1612:
1607:
1602:
1600:Front ensemble
1596:
1594:
1590:
1589:
1587:
1586:
1581:
1576:
1571:
1566:
1561:
1555:
1553:
1549:
1548:
1546:
1545:
1540:
1535:
1530:
1525:
1520:
1515:
1510:
1505:
1500:
1498:J. Burns Moore
1495:
1490:
1485:
1480:
1475:
1473:Jim Kilpatrick
1470:
1465:
1460:
1455:
1453:Ralph Hardimon
1450:
1445:
1443:Alfons Grieder
1440:
1435:
1430:
1425:
1420:
1415:
1410:
1405:
1399:
1397:
1393:
1392:
1390:
1389:
1384:
1379:
1377:Moeller method
1374:
1369:
1364:
1359:
1354:
1349:
1343:
1341:
1337:
1336:
1326:
1325:
1318:
1311:
1303:
1297:
1296:
1279:
1276:
1273:
1272:
1259:
1232:
1217:
1208:
1193:
1171:
1158:
1146:
1133:
1108:Galm, John K.
1100:
1084:
1055:
1026:
1000:
987:
959:
940:
939:
937:
934:
933:
932:
927:
922:
917:
910:
907:
830:
827:
817:
814:
796:
793:
774:
771:
741:
740:
737:
733:
732:
729:
725:
724:
723:RLRLRR LRLRLL
721:
717:
716:
713:
709:
708:
705:
701:
700:
697:
693:
692:
689:
685:
684:
681:
652:
638:
633:
632:
631:
622:
621:
620:
598:Song of Myself
596:Walt Whitman,
593:
584:
563:
562:
559:
556:
553:
550:
547:
544:
541:
534:Drum rudiments
506:
492:
487:
486:
485:
476:
475:
474:
473:Bounce stroke
459:
456:
453:
452:
411:
409:
402:
396:
393:
383:
376:double strokes
330:percussionists
313:
312:
298:
284:
279:
278:
277:
268:
267:
266:
265:
258:
257:
256:
242:
228:
223:
222:
221:
212:
211:
210:
209:
202:
201:
200:
186:
172:
167:
166:
165:
156:
155:
154:
153:
146:
145:
144:
143:
142:
136:
135:
126:
125:
124:
115:
114:
113:
112:
111:
87:
86:
48:
46:
39:
15:
9:
6:
4:
3:
2:
1855:
1844:
1841:
1839:
1836:
1835:
1833:
1818:
1815:
1813:
1810:
1808:
1805:
1803:
1800:
1798:
1795:
1793:
1790:
1788:
1785:
1783:
1780:
1778:
1775:
1773:
1770:
1768:
1765:
1763:
1760:
1758:
1755:
1753:
1750:
1748:
1745:
1743:
1740:
1738:
1735:
1733:
1732:Drum rudiment
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
1695:
1694:
1691:
1687:
1683:
1676:
1671:
1669:
1664:
1662:
1657:
1656:
1653:
1641:
1638:
1636:
1633:
1631:
1628:
1626:
1623:
1621:
1618:
1616:
1613:
1611:
1608:
1606:
1603:
1601:
1598:
1597:
1595:
1591:
1585:
1582:
1580:
1577:
1575:
1572:
1570:
1567:
1565:
1562:
1560:
1557:
1556:
1554:
1552:Organizations
1550:
1544:
1541:
1539:
1538:Jay Wanamaker
1536:
1534:
1531:
1529:
1526:
1524:
1521:
1519:
1516:
1514:
1511:
1509:
1508:John S. Pratt
1506:
1504:
1503:Samuel Potter
1501:
1499:
1496:
1494:
1491:
1489:
1486:
1484:
1481:
1479:
1478:Levi Lovering
1476:
1474:
1471:
1469:
1466:
1464:
1463:Claus Hessler
1461:
1459:
1456:
1454:
1451:
1449:
1446:
1444:
1441:
1439:
1436:
1434:
1431:
1429:
1426:
1424:
1421:
1419:
1416:
1414:
1411:
1409:
1406:
1404:
1401:
1400:
1398:
1394:
1388:
1385:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1365:
1363:
1362:Drum rudiment
1360:
1358:
1355:
1353:
1350:
1348:
1345:
1344:
1342:
1338:
1334:
1331:
1324:
1319:
1317:
1312:
1310:
1305:
1304:
1301:
1294:
1293:9781457414787
1290:
1286:
1282:
1281:
1269:
1263:
1253:September 29,
1245:
1244:
1243:The Long Roll
1236:
1229:, p. 307
1228:
1221:
1212:
1204:
1197:
1182:
1175:
1168:
1162:
1155:
1150:
1143:
1140:Rauscher, J.
1137:
1118:
1111:
1104:
1097:
1091:
1089:
1073:
1066:
1059:
1040:
1033:
1031:
1014:
1010:
1004:
997:
991:
984:
983:9780757979910
980:
976:
975:
968:
966:
964:
956:
955:
948:
946:
941:
931:
930:Triangle roll
928:
926:
923:
921:
918:
916:
913:
912:
906:
904:
898:
896:
892:
888:
884:
880:
876:
871:
870:
866:
861:
860:
856:
851:
850:
843:
838:
835:
826:
824:
823:gravity blast
813:
809:
807:
802:
795:Keyboard roll
792:
789:
785:
780:
770:
768:
764:
760:
756:
752:
747:
738:
735:
734:
730:
727:
726:
722:
719:
718:
714:
711:
710:
707:RRRLLLRRRLLL
706:
703:
702:
698:
695:
694:
690:
687:
686:
682:
679:
678:
675:
673:
669:
660:
658:
636:
617:
613:
611:
607:
599:
591:
582:
580:
577:. During the
576:
575:form a square
571:
568:
560:
557:
554:
551:
548:
545:
542:
539:
538:
537:
535:
530:
526:
523:
514:
512:
490:
471:
465:
449:
446:
438:
428:
424:
418:
417:
412:This section
410:
401:
400:
388:
382:
379:
377:
372:
368:
365:
363:
359:
358:
353:
352:
351:single stroke
347:
341:
339:
335:
332:to produce a
331:
327:
323:
306:
304:
282:
262:
250:
248:
226:
206:
194:
192:
170:
150:
130:
119:
107:
106:single stroke
83:
80:
72:
62:
58:
52:
49:This article
47:
38:
37:
32:
25:
23:
1801:
1797:Ride pattern
1757:Gravity roll
1727:Drum cadence
1712:Cymbal choke
1625:Fanfare band
1513:Fred Sanford
1468:Marty Hurley
1438:Robert Goute
1428:Alex Duthart
1418:Fritz Berger
1413:Bill Bachman
1387:Backsticking
1356:
1352:Drum cadence
1284:
1267:
1262:
1251:, retrieved
1242:
1235:
1226:
1220:
1211:
1202:
1196:
1184:. Retrieved
1174:
1166:
1161:
1153:
1149:
1141:
1136:
1126:29 September
1124:. Retrieved
1117:the original
1103:
1095:
1077:29 September
1075:. Retrieved
1071:
1058:
1048:29 September
1046:. Retrieved
1019:29 September
1017:. Retrieved
1013:the original
1003:
995:
990:
972:
952:
902:
899:
894:
890:
886:
882:
878:
874:
872:
868:
865:triple slash
864:
862:
859:RRLL or LLRR
858:
855:double slash
854:
852:
845:
842:single slash
841:
839:
836:
832:
819:
810:
798:
776:
773:Timpani roll
766:
762:
758:
754:
750:
748:
744:
731:RRLLR LLRRL
665:
654:
603:
597:
585:
572:
564:
532:Examples of
531:
527:
519:
508:
441:
432:
413:
380:
373:
369:
366:
361:
355:
349:
345:
343:
338:written note
325:
321:
319:
300:
244:
188:
75:
69:January 2022
66:
50:
21:
1448:Thom Hannum
1367:Drum stroke
751:Bâton Melée
691:RLRLRLRLRL
1832:Categories
1812:Snare rush
1782:Quadruplet
1752:Ghost note
1702:Blast beat
1682:Drum beats
1518:John Seton
1458:H. C. Hart
1333:percussion
1330:Rudimental
936:References
920:Snare rush
915:Banjo roll
901:dynamics,
746:(RLLRRL).
715:RLRR LRLL
657:media help
610:paradiddle
608:or single
522:snare drum
511:media help
464:Close Roll
303:media help
247:media help
191:media help
1697:Back beat
1620:Pipe band
1433:Vic Firth
1357:Drum roll
1340:Technique
777:Rolls on
699:RRLLRRLL
520:A common
435:July 2018
322:drum roll
1767:One drop
909:See also
829:Notation
680:Rudiment
594:—
384:—
22:Drumroll
1792:Rimshot
1686:strokes
1593:General
1186:June 2,
801:marimba
788:pitches
779:timpani
421:Please
55:Please
1762:Groove
1747:Gallop
1717:D-beat
1396:People
1291:
981:
846:RR or
784:sticks
765:, or
635:Listen
567:stroke
489:Listen
389:(1919)
354:, and
281:Listen
225:Listen
169:Listen
24:(film)
1817:Sting
1707:Break
1247:(PDF)
1120:(PDF)
1113:(PDF)
1068:(PDF)
1042:(PDF)
887:LLRR.
672:flams
668:drags
395:Types
108:four.
1802:Roll
1742:Fill
1684:and
1372:Grip
1289:ISBN
1255:2021
1188:2022
1128:2021
1079:2021
1050:2021
1021:2021
979:ISBN
883:RRLL
879:LLRR
875:RRLL
362:roll
357:flam
346:roll
326:roll
324:(or
895:LL.
893:or
885:or
877:or
767:LRR
763:RLL
759:LLR
755:RRL
612:).
59:to
1834::
1087:^
1070:.
1029:^
962:^
944:^
905:.
891:RR
863:A
853:A
848:LL
840:A
769:.
761:,
757:,
670:,
364:.
348:,
340:.
320:A
1674:e
1667:t
1660:v
1322:e
1315:t
1308:v
1295:.
1190:.
1130:.
1081:.
1052:.
1023:.
659:.
513:.
466:.
448:)
442:(
437:)
433:(
429:.
305:.
249:.
193:.
82:)
76:(
71:)
67:(
53:.
33:.
26:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
