Looking for tasteful rudimental drum solos or exercises for drum set.

just play the rudiments around the drum set

i love 6 stroke rolls played in sextuplet form ....they lend themselves beautifully to the kit....
 
'Stick Control' by George Lawrence Stone is the absolute classic. Play it with your hands, play it with your feet. Change the tempo, change the volume, change the accents. Fantastic book and very inexpensive.
 
Ideas for a good jolt of independence:
1. Try the lifetime on your snare while playing 1 & 4 on bass and hat with your feet.
2. Same, but all around the kit.
3. Try the lifetime with left on snare right on ride, while playing a samba with bass and hat.
4. Try the lifetime with your bass pedals or bass and hat, while playing ride on the beats and snare on two and four. Substitute singles on the feet where he plays doubles.

Number 3 would be a great exercise, I do that with all rudiments and it really opens things up amongst the limbs.
 
Thank you guys, these are all great ideas, but I'm looking for something more in the lines of rudimental drum solos for a drum set. I'm trying to work on transition between the rudiments on the drum set while keeping great time. I do play the lifetime rudiments on drum set but the combinations are endless. I guess I could write something out but I just didn't want to take the time if someone else may have already done it for me. I like to repeat that same rudimental routine so I can focus on timekeeping and transition between the drums.
 
Ted Reed: Drum Solos and Fill-Ins for the Progressive drummer books 1 & 2. Load of tasteful rudimental jazz solos that will keep you working for years.
 
Thank you guys, these are all great ideas, but I'm looking for something more in the lines of rudimental drum solos for a drum set. I'm trying to work on transition between the rudiments on the drum set while keeping great time. I do play the lifetime rudiments on drum set but the combinations are endless. I guess I could write something out but I just didn't want to take the time if someone else may have already done it for me. I like to repeat that same rudimental routine so I can focus on timekeeping and transition between the drums.

Rudimental solos are for snare, usually. It think it's great to learn them, and keep time with the feet. Why there aren't etude materials like this for drum set is actually a deep question.

Any book of drum set solos (though I admit I haven't seen the Ted Reed book mentioned earlier) is bound to be dated, or devoid of musical context, or both. What books I have seen that attempt to apply rudiments to the drum set are pretty lame, only scratch the surface, and provide few practical combinations, IMO.

And although every rudiment can be voiced on the drum set a number of ways, I don't think it's wise to go through every possible permutation, without regard for which combinations lend a musical sound, or for whose executions are logistically fraught with issues. Why not learn a few combinations and voicings that "work", and learn from there? To find them, though, you'll have to check out drummers who have done that sort of thing. Steve Gadd has great "licks" derived from paradiddles, ratamacues, six stroke rolls, paradiddle-diddles, and other phrases. Steve Smith also has some signature licks with double paradiddles, paradiddles, and what Bill Bachman calls "puh-duh-duhs". :) Todd Sucherman has a section on his DVD called "tribute fills" where he explains some pretty crazy stuff, and from whom he heard/learned it.

The book Studio and Big Band Drumming by Steve Houghton develops the idea that the right hand "leads" around the drum set, and the left hand "fills in" the remaining spaces (very handy stuff if you have to quickly nail a horn figure!). Yes, you could surely describe those combinations in terms of ratamacues, double paradiddles, etc., but it would be unnecessarily confusing, and prevent you from improvising in such a way that goes even beyond rudimental thinking. Peter Erskine talks about developing a series of "signposts" for his fills, and then adds notes and phrases around them, without particular attention to what rudimental combination he's using. Other drummers might be more deliberate, of course.

I guess that, as a teacher, I wouldn't want you to play a certain rudimental "routine" on the kit. Rather, I would prefer that you explore some combinations and voicings, and deepen your "drum set vocabulary". Timekeeping and transitioning between the drums will happen as you become familiar with the new combinations. Give yourself some time to just play through it, then throw on the metronome and play slowly for a while, and then at a variety of tempi. And yes, write out the combinations you are learning, and especially the ones you like!
 
Rudimental solos are for snare, usually. It think it's great to learn them, and keep time with the feet. Why there aren't etude materials like this for drum set is actually a deep question.

Any book of drum set solos (though I admit I haven't seen the Ted Reed book mentioned earlier) is bound to be dated, or devoid of musical context, or both. What books I have seen that attempt to apply rudiments to the drum set are pretty lame, only scratch the surface, and provide few practical combinations, IMO.

And although every rudiment can be voiced on the drum set a number of ways, I don't think it's wise to go through every possible permutation, without regard for which combinations lend a musical sound, or for whose executions are logistically fraught with issues. Why not learn a few combinations and voicings that "work", and learn from there? To find them, though, you'll have to check out drummers who have done that sort of thing. Steve Gadd has great "licks" derived from paradiddles, ratamacues, six stroke rolls, paradiddle-diddles, and other phrases. Steve Smith also has some signature licks with double paradiddles, paradiddles, and what Bill Bachman calls "puh-duh-duhs". :) Todd Sucherman has a section on his DVD called "tribute fills" where he explains some pretty crazy stuff, and from whom he heard/learned it.

The book Studio and Big Band Drumming by Steve Houghton develops the idea that the right hand "leads" around the drum set, and the left hand "fills in" the remaining spaces (very handy stuff if you have to quickly nail a horn figure!). Yes, you could surely describe those combinations in terms of ratamacues, double paradiddles, etc., but it would be unnecessarily confusing, and prevent you from improvising in such a way that goes even beyond rudimental thinking. Peter Erskine talks about developing a series of "signposts" for his fills, and then adds notes and phrases around them, without particular attention to what rudimental combination he's using. Other drummers might be more deliberate, of course.

I guess that, as a teacher, I wouldn't want you to play a certain rudimental "routine" on the kit. Rather, I would prefer that you explore some combinations and voicings, and deepen your "drum set vocabulary". Timekeeping and transitioning between the drums will happen as you become familiar with the new combinations. Give yourself some time to just play through it, then throw on the metronome and play slowly for a while, and then at a variety of tempi. And yes, write out the combinations you are learning, and especially the ones you like!

+1 for all of this.

I've worked on books that apply rudiments to drumset. Most of the phrasing is awkward and meant to help you develop coordination rather than give musical ideas. That's fine - as long as it helps you become creative.

You'll find a lot of people here who swear by practicing rudiments regularly. I find that it changes my phrasing quite a bit when I practice rudiments constantly.

If you want to learn phrasing, I would look into classical or marching snare solos. If you want coordination that will give you freedom to play the phrases already in your head more naturally, practice rudiments and Stick Control.

-sheldon

-sheldon
 
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