There is a great deal of classical music that is simply an arrangement of patterns, scales, arpeggios and 7th chords arranged in a certain order! A student will have the technical capability of playing any pattern that music may throw at them if they know all of these patterns and what their harmonic purpose is. As a result, they will also become a better sight-reader, as they will be reading combinations of notes rather than individual notes. It’s like reading a language.
In order to learn how to read, you’ll have to learn your alphabet first, then you’ll gradually recognize the different combinations of letters that form words. Your fluency will eventually increase to the point where you will be able to write words without thinking about it.
The letters C-A-T make up the English word cat, a very popular pet animal, which is why I bet you can’t even read the letters C-A-T without thinking of the cat. The same thing occurs when you become proficient at scales and arpeggios.
As soon as a student learns to recognize the stepwise motion in their schooling, they will be able to identify a D major scale in the first measure! This way, their brain does not have to see the 9 individual notes and they can learn the measure very quickly since they recognize the scalar pattern that they have practiced. The same is true for measure two.
Students who are aware of the importance of their scales and arpeggios will be able to identify a D major arpeggio with a quick glance. You can show a student how important it is to practice scales and arpeggios when they go to learn a piece of music. Understanding leads to enjoyment of music, so show a student the value of practicing scales and arpeggios.
Basically, rudiments are the snare drum’s way of representing the common sticking patterns that drummers and percussionists face daily. It is possible to learn hundreds of hybrid and modern rudiments, as well as the standard 40 rudiments. If you find it difficult to teach rudiments, just remember that they are similar to scales! It is important that students learn the patterns of sticking AND the movements that go along with them.
There is usually a mixture of confusion and self doubt in my students’ eyes when they see this with questions such as: How do I play that rudiment? How fast does it go? Why do the sticks seem so crazy? I added lines to visually separate the three different rudiments in this passage.
In order to avoid feeling overwhelmed by this passage, I show my students that it is really just two back-to-back paradiddle-diddles with a five stroke roll at the end instead of 2 beats of 32nd notes. As a matter of fact, most students that I teach can even play the “Paradiddle-diddle paradiddle-diddle five stroke roll” just by hearing me say it!
If you are ever unsure about what a rudiment is, just remember that they are all stick combinations and coordinations that you need to learn. The power of patterns and rudimental knowledge is essential! In order to understand what flam taps are, you would have to play flam taps with one stick on your drum pad and one stick on your knee, for example. You will soon realize that flam taps are nothing more than triple strokes that overlap each other.
By showing youngsters the value of learning triple strokes, this gives you more confidence when teaching them! You will soon end up with good flam taps if you have good triple strokes! Everything is connected, and when you connect rudiments with music, you make it easier for your students to use patterns they already know to overcome music they do not know, so they can overcome the music they do not know easily.
Next time your students play a solo, take them on a rudimental scavenger hunt. You will be able to find patterns everywhere. All things complex are built upon these fundamentals. In order for students to have a lot of musical success, they must buy into these fundamentals and practice them consistently.
