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Marching S.D.s exercises

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Right Hand "One-ee---ah"

Left Hand 16th-Grid

Right Hand "One-ee---ah"

Left Hand Inverted 16th-Grid

Right Hand "---ee-and-ah"

Left Hand 16th-Grid

Right Hand "---ee-and-ah"

Left Hand Inverted 16th-Grid

Inverted Cheese Taps #1

SnareScience.com - Universal

Snare

R l L r R l L r R l L r R l

r r

L r R l L r R l L r R l L r

Purpose:		This exercise breaks down the left and right hands for the inverted cheese tap. This is an excellent exercise for developing the inverted
		motion while maintaining correct rhythm and good sound quality.
1)	Stick motion:	This exercise makes use of the moeller technique. There should be a SLIGHT lift of the forearm to initiate each up stroke from the tap
		height to the accent height. I must emphasize the word SLIGHT. If you overdue the amount of arm motion in the moeller stroke, you
		will be wasting energy and it will be difficult to play accurately in the context of the surrounding notes. Make sure there are two distinct
		heights in this exercise - one height for accents, and another height for the taps, nothing in between.
2)	Sound Quality:	A very common error in this exercise is to pound the accents and play harsh sounding cheeses. Make sure you are not squeezing the stick
		into the head. It is very important for your hands to stay relaxed in this exercise!

3) Rhythm and Timing: One of the main issues here is going to be flam consistency. Placing a very consistent space between the grace note and the main note is one of the greatest challenges in snare drumming. Some say the 'perfect flam' is unattainable. :) So, when you play this exercise, really tune your ear in to the quality of your flams. It helps to play this exercise on a very hard surface, such as a drum, hard side of a

practice pad, or even a piece of wood! The short duration of the sound will allow you to hear and identify any variation in your flam quality.

A second issue that will be very common for this exercise is the rhythmic interpretation of the cheeses. Don't think of the cheese as some nebulous hybrid rudiment - These are just 32nd notes with a grace note. Try playing the exercise very slowly so that you have to stroke out and place every individual note.

Finally, also note that it is easy to warp the 16th rhythm in the top line because of the weird sticking. Make sure your sixteenth notes with diddles are completely solid before adding the inverted cheese taps.

4) Variations to this exercise:

Play one hand on drum and one hand on rim to check for stroke and quality of sound consistency on each individual hand.

Inverted Flam Taps #1

SnareScience.com - Universal

Snare

R l L r R l L r R l L r R l

r r

L r R l L r R l L r R l L r

Purpose:	This exercise breaks down the left and right hands for the inverted flam tap. This is an excellent exercise for developing the inverted
	motion while maintaining correct rhythm and good sound quality.
1) Stick motion:	This exercise makes use of the moeller technique. There should be a SLIGHT lift of the forearm to initiate each up stroke from the tap
	height to the accent height. I must emphasize the word SLIGHT. If you overdue the amount of arm motion in the moeller stroke, you
	will be wasting energy and it will be difficult to play accurately in the context of the surrounding notes. Make sure there are two distinct
	heights in this exercise - one height for accents, and another height for the taps, nothing in between.

2) Sound Quality: A very common error in this exercise is to pound the accents. Make sure you are not squeezing the stick into the head. It is very important for your hands to stay relaxed in this exercise!

3) Rhythm and Timing: The main issue here is going to be flam consistency. Placing a very consistent space between the grace note and the main note

is one of the greatest challenges in snare drumming. Some say the 'perfect flam' is unattainable. :) So, when you play this exercise, really tune your ear in to the quality of your flams. It helps to play this exercise on a very hard surface, such as a drum, hard side of a

practice pad, or even a piece of wood! The short duration of the sound will allow you to hear and identify any variation in your flam quality. Also note that it is easy to warp the 16th rhythm in the top line because of the weird sticking. Make sure your sixteenth notes are completely solid before adding the inverted flam taps.

4)Variations to this exercise:

a)Play one hand on drum and one hand on rim to check for stroke and quality of sound consistency on each individual hand.

b)Try playing the exercise with different definitions of a perfect 'flam'. Try to play really loose grace notes consistently. Try to

'pop' your flams (play grace note exactly on top of main note) consistently. Try to play malfs (grace note after main note) consistently. When you can do all these things, you have full conscious control over where the grace note is placed.

Irish Spring - "African"

snarescience.com - Universal

Snare

R...

L...

R R

R R L R L L

L L

L L R L R R

R R

R R L R L L

L L

L L R L

R R L R R L R R L L R R L L R L L R L L R R L L R R R L L L R R R L L L R R R R L L L L R R R R L

Purpose: The purpose of this exercise is to improve your double stroke quality, as well as your hand to hand transfer consistency. This is the second of three variations of this exercise. Try getting together with friends and splitting Irish, Asia, and African all simultaneously. It sounds awesome and is a lot of fun!

Notes: This exercise should be relaxed with very legato stick motions. At higher tempos, consider setting your metronome to click once every two beats to help maintain that laid back feel. Really work on bringing out the 2nd note of each each double stroke.

One of the most common errors in this exercise is morphing the double stroke rhythm just before the hand to hand transfer. This is an excellent exercise in 'finishing the phrase' -- the last double before the alternating eighth notes should be exactly the same as every other double stroke.

Irish Spring - "Asian"

snarescience.com - Universal

Snare

R...

L...

R R R

R R L R L L L

L L L

L L R L R R R

R R R

R R L R L L L

L L L

L L R L

R R R

L L L

R R R L L L R R L L R R L L R R L L R R R L L L R

Purpose: The purpose of this exercise is to improve your triple stroke quality, as well as your hand to hand transfer consistency. This is the third of three variations of this exercise. Try getting together with friends and splitting Irish, Asia, and African all simultaneously. It sounds awesome and is a lot of fun!

Irish Spring - "Irish"

snarescience.com - Universal

Snare

R...

L...

R R

R R L R L

L L

L L R L R

R R

R R L R L

L L

L L R L

R R L R L

L L R L R

R R L R L

L L R L R R R L L L R R R L L L R R L L R R L L R R L L R

Purpose: The purpose of this exercise is to improve your double stroke quality, as well as your hand to hand transfer consistency. The thing that is great about this exercise is that the 2nd note of each double lands on the down beat. This only further enforces the need to play doubles with a strong 2nd note. This is the first of three variations of this exercise. Try getting together with friends and splitting Irish, Asia, and African all simultaneously. It sounds awesome and is a lot of fun!

Mini Three

SnareScience.com - Universal

Snare

Purpose:

This exercise focuses on developing consistent hybrid flam rudiments, namely the flam drag, cheese, and flam five.

1) Stick motion: This exercise is designed to work on correct stick motion. It is very common for stick motions and technique in general to be thrown out the window when playing hybrid flam rudiments. Don't let this happen to you! In the exercise, before any flam rudiment is played, you have a chance to check your stick motion on an easier version without the grace notes. Make sure that there are two distinct heights in this exercise and nothing in between.

2)Sound Quality: Do all of the taps sound the same? How about all the accents? Some common mistakes include:

a)Pounding the accents. Make sure that you don't squeeze the stick into the drum head. Use relaxed fingers to control the rebound back to a tap height.

b)Harsh sounding cheeses and flam fives. Let these diddles breath! There should be a nice 'round' quality of sound, whatever that means.

c)Playing the low diddles weakly. Make sure you are still putting velocity behind these notes. Check out flam accent breakdown to improve in this area.

d)Playing the right hand louder than the left... don't be the guy with the weak left!

3)Rhythm and Timing: How perfect is your underlying eighth note rhythm? How about on the rudiments? Some common areas where mistakes occur:

a)First two notes of the exercise and first two notes after a roll measure: It is very easy to rush check patterns, especially right after playing a measure that is more difficult. Make a conscious effort to control the space between these two notes!

b)'Slurring' diddles: Don't think of the 'diddles' as some nebulous rudiment. The diddles in this exercise are simply a 16th note RHYTHM. Try playing the exercise so slowly that you have to completely stroke out every single note. If you are not thinking about the rhythm of the diddles, it will be impossible to play the exercise accurately.

Pantera

SnareScience.com - Universal

Snare

R L R L R L R L R L R

Purpose:

This exercise focuses on single stroked diddles, hertas, blurtas, or whatever you prefer to call them.

1)Stick motion: The stick motion for this exercise should be completely legato. Do not stop the stick motion until you hit the final note.

2)Sound Quality: Does every stroke sound the same? How about from left to right hand? Make sure you play every note with the same

exact volume. Some common mistakes:

a)Pounding the last note of the long single stroke rolls in the last two measures.

b)At higher tempos, playing the first part of the exercise higher than you can play the rolls at the end. Just because it is easier to play the herta patterns higher doesn't mean you should.

c)Playing the right hand louder than the left... don't be the guy with the weak left!

3)Rhythm and Timing: How perfect is your rhythmic interpretation of the 32nd notes? How about the underlying 16th note pattern? This is a great

exercise to play with a friend - take turns playing straight 16th notes while the other plays the exercise to check your rhythm and timing. Also, try variation "a)" described below.

4)Variations to this exercise:

a)Take out all of the 32nd notes and play the 16th note 'skeleton'. It may take some time to get the correct sticking down, but once you have the skeleton solid your rhythm and timing should be much better.

b)Play exercise at different heights; 1", 3", 6", 9", 12", 15", Full.

d) Play on low-rebound surface to improve muscle strength and endurance.

Pantera with backsticks - ()

SnareScience.com - Universal

Snare

R L R L R L R L R L R

Purpose:

This exercise focuses on back sticked single stroked diddles, hertas, blurtas, or whatever you prefer to call them.

1)Stick motion: The stick motion for this exercise should be completely legato. Do not stop the stick motion until you hit the final note.

2)Sound Quality: Does every stroke sound the same? How about from left to right hand? Make sure you play every note with the same

exact volume. It is a very big challenge to get the backstick sound quality comparable to the regular notes.

Some common mistakes:

a)Pounding the last note of the long single stroke rolls in the last two measures.

b)At higher tempos, playing the first part of the exercise higher than you can play the rolls at the end. Just because it is easier to play the herta patterns higher doesn't mean you should.

c)Playing the right hand louder than the left... don't be the guy with the weak left!

d)Playing the backsticks quieter than the regular notes.

3)Rhythm and Timing: How perfect is your rhythmic interpretation of the 32nd notes? How about the underlying 16th note pattern? This is a great

exercise to play with a friend - take turns playing straight 16th notes while the other plays the exercise to check your rhythm and timing.

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