D e v e l o p i n g S n a r e D r u m Rolls

by Sherman Hong
One of the basic techniques that a young snare drum student is expected to learn and eventually command is the roll; however,
many intermediate and some advanced students are unable to produce good controlled double stroke and buzz rolls. Because of
the wealth of pedagogical materials readily available today, it would seem that students would be well-versed in the fundamen-
tals of roll production; however, this is not the case.
There seem to be two fundamental reasons for the problem - one, teacher-oriented, and the other caused by material defi-
ciencies. Teachers usually understand the sound they want produced, but are largely ignorant of how to teach the physical and
mental aspects of roll production; consequently, they depend on method books for the greatest amount of guidance for the
young students. Many method books encourage development of rolls by simply instructing students to "let the stick bounce on
the head." Very little of the muscular and mental control required is discussed I have found that this method leads to poor
execution because the student, in order to produce the bounces, relaxes or even releases the grip entirely. This practice com-
monly results in a dropping of the hand or a pushing of the stick into the head. These actions might produce an adequate sound
at low dynamics; however, such motion usually produces accented and uneven rolls.

Importance of the Grip
The grip students use often determines the quality of roll pro-
duction. 1 advocate a grip which utilizes fingers and hand. My
own experiences with students have shown that a majority of
problems in producing smooth rolls, both double stroke and
buzz, are caused by the overuse of downward hand movement
with little or no use of the fingers. The added hand mass to a
stroke increases the force produced; consequently, the attack
will be less resonant. If the finger were used to move the stick,
less force would be produced; hence, more resonance and less
attack sound. Over-utilization of the entire hand also leads to
more vertical motion of the forearms which, in turn, adds
even more mass to strokes which produce even less resonance
and more attack sound.
Right Hand Grip
Although many students are taught to use the index finger-
thumb pivot point, I have found the use of the middle finger-
thumb pivot point produced superior auditory and physical
results.
With the first grip, use of the index finger to move the stick
causes part of the hand to move downward toward the drum
head - this increases the mass and the resultant force on the
head (Illustration 1).
When using the middle finger-thumb pivot point, the
middle finger is able to move the stick without a great deal of
hand movement; consequently, according to laws of physics,
the mass x velocity will produce less force and more resonance
when compared to the first grip (Illustration 2).
Left Hand Traditional Grip
There are several major physical checks to make when the
traditional grip is used. Fingers should not be overly curled
toward the palm. too much inward curl produces unwarranted
tension in the hand and forearm and is likely to cause the
player to use too much vertical forearm action (Illustration 3).
Using a crooked thumb creates problems. Such a grip
creates unnecessary tension in the crotch of the thumb and
index finger. This frequently leads to too much forearm move-
ment and a dropping of the hand (Illustration 4).
A grip variance which is useful for rudimental or corps style
playing is detrimental to the production of good buzz rolls.
This variation is created by laying the index finger on the
stick. The premise behind this is to have the finger aid in
pushing the stick down into the head. This grip restricts the
resonance of the stick and creates more force. As a result, the
head of the stick stays on the head longer and restricts produc-
tion of lower partials of a drum's tone; thus a less resonant but
more intense sound is created (Illustration 5).
This writer has found that the grip which produces the best

Note h o w t h e h a n d has d ro p p e d from its original position.

N o t e h o w t h e h a n d hmJ8n o t m o v e d d o w n w a r d t e a n y ~ r o e t d e g r e e .

July 1983 / 49
 %

Note h o w t h e forearm h a s m o v e d ; this a d d s m a s s to t h e s t r o k e to p r o d u c e m o r e form, a n d less . ~ . v . ~ . . ~ .

I

buzz roll is one in which the thumb is straight, the pad of the
thumb touches the index finger and the index finger is curved
over, but does not touch the stick (Illustration 6).
Single Stroke Patterns
The function of this roll should he carefully studied, for I
\
feel that it is the singular m o s t important technique a student
should learn. Method books are too often organized so that a
student receives minimal work on this technique before pro-
ceeding to either a buzz or double stroke roll.
Putting basic single stroke exercises in definite meters seems
to be a practice detrimental to the development of good, even
single stroke rolls. Such practice is usually done because a
teacher is trying to teach the student note values, meters, and
the recognition of conducting patterns. The student thus
learns in common time (4) the first and third beats are stressed
or, in other meters, the downbeat is louder than the others. If
a student follows directions, he then plays those beats louder
rather than make each note equal in volume. The problem is
compounded when he begins vith the stronger hand.
I recommend that no meter be used at first, rather, use a
metronome and have the student keep time with it and empha-
size evenness of sound. One beneficial way to produce even Note the i n d e x finger a n d t i n g finger are a b o u t parallel to each
other. T h e i n d e x finger also aids in t h e e x e c u t i o n of t h e m o r e
strokes is to have the student "tongue" each note aloud. (Use a technically d e m a n d i n g pottertm utilized in corps style d r u m m i n g .
legato tonguing syllable, Too orTah): too too too too
r r r r Rather than proceeding next to teaching either the double
After he can play even notes have him menta//y sing the tongued stroke or buzz roll, I prefer to work on combination single
notes as he plays. As the student develops consistent control, stroked patterns; for example, the fiam. This rudiment is pro-
the teacher should gradually use faster metronome markings. duced by utilizing both hands simultaneously but with each
To develop quicker hand and stick movement, one could use playing a different dynamic stroke. Key rules to teach with
the metronome click as the beat while the student plays the flam are:
duple or triple pulses per beat (Example 1). Remember: avoid 1. ~ = grace note always played about a "piano" level
stressed notes (which are taught later) - tongue each note! 2. J = stroke played at varied dynamic levels
3. ~ = tlam sound should sound like the word itself; the
J. . . . J. . . . J: ..... "f' in the word should be quick and soft, the
"... lam" is louder. But note the word should sound
like one syllable rather than two (not "fa-lam").
Also note that the grace note is connected to the primary note
s , ~ r ~ T o o TOe Too Tan Tab Tah ?eh TaN TaR and not separated; the grace nqte should be slurred into the
primary note. This particular pattern is more difficult to pro-
Example 1 duce than is commonly thought, for it requires more subtle
muscular control and concentrated listening than does the
Tonguing of the notes leads toward mental, aural, and phy- single stroke. The fingers, with very little hand motion, execute
sical concentration! the grace notes.

N o t e therQ i s o n l y o n e p o i n t a t w h i c h t i r e h a n d t o u c h e s t h e s t i c k ; t h i s r e s u l t s i n p r o d u c t i o n of m o r e s t i c k a n d d r u m h e a d r ~ s o n a n c e .

t Perc,jssive N o t e s
 Paradiddles If the student has difficulty producing dynamically and
Although many teach the double stroke roll next, I advo- rhythmically even diddles at the faster tempi, I advocate
cate teaching the diddle (two consecutive notes played by one changing the metronome markings from the beat unit to the
hand). I have found that students who work on the double pulse units (divisions) of the beat. This practice helps the
stroke rolls next tend to produce a bounce roll before they student feel timing better and thus leads to more evenness.
can control the double strokes; consequently, rolls sound After gaining sufficient control of the fast diddles, I now
accented and uneven. call them double strokes. Students can then proceed to the
I advocate teaching a single paradiddle after the flam. The commonly used double stroke numbered rolls, the 5, 7, 9, and
paradiddle consists of two alternate single strokes and one did- 17 stroke rolls. Numbered rolls should teach students the
dle which flows from the two singles. Each note of the diddle concepts of attacks and releases. A simple way to teach the
should be equal in volume and length with the single strokes. numbered rolls is to teach the basic hand motion involved. A
To play it more evenly, have them say "pa-ra-did-dle" evenly, formula they can remember is: Take the number of strokes
then imitate what they said. desired, divide by 2 and add I (N + 2 + 1 = hand motions).
tJ= 120-160 For example, in a 9-stroke roll, divide 9 by 2 then add 1 -
9 + 2 = 4 + 1. The interpretation of the results would be
four alternate hand motions plus one more. ( J = ~ ~ ). The
pa-ra-did-dre pa-ra-did-dle pa-ra-did-dle pa.ra-did-dfe
one stroke will be a single stroke. Play the basic pattern and
Example2 then diddle each of the four first strokes. (Example 10).
Contrary to the way this rudiment is listed on rudimental
sheets, note that there are no accents! It is easier to add
accents than to take them out. The student should become a aaiiii!ii kkaaknnk
aware that to produce even diddles he uses hand-controlled Example4 (4 + 1 pattern, duple pattern)
finger action rather than a hand-stick bounce action. Of
course if the metronome marking is greater than d = 160, Be sure that the hands move in the same motion as the first
then he should use controlled stroke and rebound action. The measure. An understanding of this approach should make the
most important aspect learned from this rudiment is to use student aware that rolls are dependent upon consistent
strokes and controlled finger action for the second note of the rhythmic hand motion and evenness of the double strokes.
diddle. One might also teach the double and triple paradiddles The following illustrate patterns for the other commonly used
before proceeding to the next step. rolls. (Hand motion shown by stem-up patterns.)
Diddles A. Five stroke earrERN 8aSlCRHYTHM RHYTHM.ANDROLL
As soon as a student is able to produce rhythmically and
dynamically even diddles, exercises such as the following 1) (2+1) ~ ' ~ 4~- ~ ~ - ~ ~ - ~
can be used.
RRL L R L L RR L
A. Duple divisions ,~=,0.,~2

1. It~'~ ~'~ ~ ~ ' ~ l ~ ~'~ ~ ,['7~:[I 2) (1+2) ~ ~ ~

sing: ta ta la ta did-dieta did-dleta la ta ta ta ta did-die ta did-die B. Seven strokes Rt t RR L RRt t

1. Triplet pulse
ta d*d.dle ta did.die did-die ta did-die ta did.die did.die ta ta did41e did.die did-die did-die
3 3

B. T e r n a r y d i v i s i o n s
1) (1+3) ~
<..... ~,,~,........ ,,e~> R LR k R LRL
R LL RR L L R LLRRL L
1"[1:1~ ~f~ ~ ~Ff7
~ I ~ ~7~ ~ ~'~'~ ]
3 3 5

2)
R R L L R R L R R L L R R L

lF amCgat 2. Duple pulse

1)
RE R L R LL RR k L R EL RR L L

Example3
2)
Even at the fastest metronome marking (~ = 152), the
student should not bounce the double stroke (diddle). When
sufficient control is attained, change the metronome mark- C. Seventeen strokes
ings to faster settings- ,,J = 160, ,J = 168, etc. The student
should then get a feeling of playing the faster diddles with a 1)
controlled stroke and rebound. The rebound stroke would be
played with the finger rather than with just hand motion. A
major cause for unevenness is failure to use finger control for
the second stroke of the diddle! Example5
July 1983 / 51
 After controlling these rolls, go to longer rolls. All of the sings the first letter in the word (zzzo) and the compression
rolls should also be learned with a triplet pulsation. For exam- is released when he says the letter "o" in the word. Once ade-
ple, when teaching the five strokes roll in ternary meters, the quate control is attained at this volume level, go through all
pattern is still 2 + 1, but note where the one stroke falls: volume levels, ppp to ft. The method just outlined stresses
definite beginnings and endings for the compressed (buzz) sound
but without accents.
After control of the compressions has been learned at vari-
ous dynamics, students can then be taught buzz rolls. I have
had success using the following patterns.
Example 6
A. Duple feel
Emphasize playing rolls at all dynamics, especially the softer
ones which require more concentrated physical and mental SINGLES DIDDLES BUZZES
control and use of finger control.
Drags IL: , , , I , , , 1 77 J , , , 41
ta l a ta ta d,ale dldle dldle d,dZe lZO zzo zzo ZlO
To insure that students learn to use more finger control, I {Fingers) [buzzl

next recommend teaching drags, ~-! and ~ J Playing

those grace notes require more refined finger movement and B. Ternary feel
less up-down hand action. The grace notes should first be
played at the softer dynamic levels and can be played both I I I
open and closed styles. Be sure that students do not accent
grace notes or play them equal in volume to the primary notes.
Next, teach the same basic pattern but use more grace notes: Example 9
mJ
i.e., ~r"~ , ctcrr", The students should thus belearning to Note the rhythmic hand motion does not change from one
control the breadth of the grace notes with finger control. If measure to the next. The student should be aware of the
the student has problems executing these patterns with the following physical sensations within the grip:
proper phrasing, have them "sing" the following words (the A. Single stroked patterns- use hand and some finger control
"zo" relates to the grace notes, the "t" to the strokes. B. Double stroked patterns - use hand and finger control
equally
C. Buzz rolls - use primarily finger control and only a little
&-% ~
mJ ,o,
LL"-C"R. ~
.e- J
.....
~'R .~
.....
hand motion
Psychologically speaking, he moves from the simple to the
Example 7 complex motions and sound.
After sufficient control of buzz rolls is gained, the student
Note the crescendi going from the z's to the t's in the words! If should then become aware of which rhythmic division, duple
the crescendi are not observed, there would be a tendency to or ternary, produces his best sounding rolls. He should prac-
play the grace notes and then decrescendo to the primary tice and be able to play either as the musical situation demands.
note. Most importantly, it should make them aware that grace When dynamically louder rolls are needed, the student should
notes must be played with finger control to produce the proper slightly increase the speed of the hand motions and decrease
compression in the grace notes. the speed slightly at softer dynamics. The prime concept to
Following the above procedures should make a student teach is to listen to the sound of his rolls in relationship to tex-
aware of several things: ture, timbre, and volume demands.
1. Grace notes are begun and ended with finger movement Summary
and very little hand motion. There are other aspects of playing rolls which this article
2. He is able to control the length of the compressed (grace) did not discuss; however, the materials presented represent
notes. one approach to teaching rolls. The exercises presented are
3. Compressed notes have a definite beginning and ending designed to make students more cognizant of finger control
place. and to help them avoid pitfalls created by following a tech-
4. Endings of the compressed notes are executed by lifting nique recommended in many books; this is, to relax and let
the head of the stick from the head. the sticks bounce on the head an unknown number of times. If
Have the student then play the following exercise; be sure the the student does not release the compression (buzz), the result
grace notes are played in a closed, compressed style. is a "pressed" and accented sound not conducive to producing
a smooth sounding buzz roll.
One should ideally teach percussion students in homogene-
ous classes; however, this is usually not the case. Neverthe-
tktR ktt LLL LLL LLL
RRR L RRR L
LLLR
RRR
RRRL
RRR
RRR
LLL
RRR
LLL
RRR
RRR
less, a composite of the ideas presented can serve as procedural
guidelines for any teacher. For better success, stress a mental,
physical, and aural approach to learning rolls.
Example 8

In the second measure the primary strokes are not played.
Then go on to another exercise in which they play, sing, and
think four grace notes: ~zr"! ~t~r"~ Note that
the beginning of the compressed notes are begun when he
Dr. S h e r m a n Hong is the percussion instructor at the University
of Southern Mississippi, located in Hattiesburg, MS. He is active as
a performer, clinician and adjudicator and is author of a book enti-
tled Percussion Section: Developing the Corps Style, published
by Eagle Press.

52 / Percussive Notes