Lets Get Started - Difficult things FIRST
The Open Roll
I was a fairly good drum student. I studied from the hallowed books. I practiced all my rudiments. (Seems like there were a lot less of them back then.) It wasn’t until I reached high school though; when our band director introduced the drumline to the local drum and bugle corps guy. He was brought in to “enlighten the drumline”. He played us an early 70’s recording of the Santa Clara Vanguard Drum and Bugle Corps. (vinyl of course) I listened in disbelief to six snare drummers playing 32nd notes that sounded like one person; it changed my life. It opened up my eyes to the endless creative possibilities achievable with foundational knowledge.
The building block of that foundational knowledge, and the single most important and challenging rudiment is the “OPEN DOUBLE-STROKE ROLL”.
It is important for several reasons, not the least of which is that all other double-stroke rudiments depend on how cleanly you play it. Also, as a practical matter, when used in shorter versions such as 5, 7, or 9 strokes, it’s a great tool to transition in or out of your favorite licks. A good, strong open roll can also be the key component at the end of a tune, along with tom and bass drum/cymbal accents, not to mention how effectively you can work dynamics into them.
AND IT’S CHALLENGING! – Well it’s challenging for a couple of reasons. First of all, it isn’t easy playing double-stroke 32nd notes at 120 BPM and make them sound like single strokes, which in the case of an “open” roll, is what you want to achieve. Whereas you can get away with bouncing the second stroke of any other diddle rudiment, any sign of weakness in the second stroke of each diddle of an open roll demotes it to a distraction - a" disruption in the force" if you will.
Also, it is very important that the first note of the diddle be of the same tonal quality for both hands. This one is inherently harder to achieve for anatomical reasons when you play with a traditional grip. Let’s face it; the difference in the surface interaction of your hands with the stick is not the same. Perhaps this is another logical reason to play matched. That choice is yours.
So, how do I do it you ask? My perspective was that of a young and impressionable brain assaulted by the study of a technique primarily used in drum & bugle corps; which in the 70’s did not involve drumheads that felt like you were playing on a large block of wood. And when your snare drum line consisted of TWO – one of which was missing a left index finger – yes, it’s the one that you bring that left stick down with, you (as in me) needed to play with aggression and power to make up for the simple lack of bodies on the field.
Let’s get right to it. It starts with you in front of a mirror – with a pad a couple of inches below your waistline. By the way, don’t even think of taking this to a drumhead until you can really shed it as it may cause irreparable damage to your ego; possibly your ears. Depending on how insulated you are from the earshot of others you may even become detested by your neighbors, say nothing of your parents or cohabitants - but I digress. Both your arms are perpendicular to the ground. Begin by playing each stroke at approximately one-second intervals. The first stroke of each diddle should be delivered with “normal” energy. The second should be exaggeratedly powerful and aggressive. The arm-to-wrist motion should be as continuous as possible and flowing. Slowly work your way up to 32nd notes at 120 BPM, hold it there for a couple of bars, and work your way back down. As you build up speed the intensity of your double strokes will even out, and over time, if you’ve practicing correctly, both strokes will sound the same.
Simple enough right? The ideal you will strive for is to play identically sounding 32nd notes at 120 BPM. You may never achieve it on a pad, but the closer to come to this ideal on that surface, the cleaner it will sound on a drumhead.
​
This site seeks to highlight the importance of the rudiments, beginning with the open roll. Over time, the 26 rudiments will be taught, and their application on the drum set will be demonstrated.