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Contains: Contempora Rudimental Studies & Solos by Lalo Davila A Guide to Learning & Performing Rudiments Music recorded by: John Hill ] Assisted by: Dan Shike and Eael Drake IIT Cover Design: Mark Donaldson / Donaldson Design Group Acknowledgments {soul ke otk he allowing pepe for her ep in making this ook «sucess: George Barret and Shen Haris from Pearl Conpraton for the seo ter sure drums onthe reordngs Ne! Fam, ie Kr, and Larne Keeney other ep on he et fsbo Jo Scars nd Dav Brococ for he path io. sistance; and Tal my Mile Teves State Unicel students. Special thanks to two people who have helped me with this project from the very beginning: my good friend Matt Savage a.k.a. Matolo; and fo my first percussion instructor, Mr. Dayle Horton twho taught me that teaching 1 be both fran rewarding. To my beautiful daughters Danielle and Marisa, for always filing me with joy and love. To my bemutiful wife Julie for believing in me and my book. To my brothers and sisters: Mayne, Rajph, Hector, CChela, nd Ruben for alzoays being there wlien I needed you ard for your never ending love and prayers. To my mom ‘tnd dad voho lie in my heart and for teaching me to bel ‘And to God for having blessed me with a ° SMVilke's percussion www.mikespercussion.com Contemporary Rudimental Studies and Solos is published exclusively by Row-Loff Productions Copyright 1997 Lalo Davila All Rights Reserved About the Book Contemporary Rusiviental Studies mn Solos is a guide to learning and performing rudiments. tis my hope that this book will prove itself useful to students, percussion instructors, and music ‘educators. Rudiments have long played an important part in the various forms of performance idioms Which have been developed and maintained throughout history, The growth of the number of rudiments from our 26 Standard Rudiments, to what is now a list of 40 Standard Rudiments, is evidence of increasing prominence and importance of rudiments in performance idioms. This increase of rudiments is due in large part to the efforts of great percussionists and the Percussive Arts Society to standardize and to catalog the rudiments currently available. The list continues to grow with the dovelopment of hybrid rudiments which have been presented through the advent of modem drum corps “The content and focus of this book is directed primarily on the 40 P. A. S. Drum Rudiments. The approach ofthis book is to study each rudiment individually increasing the tempo and complexity ofits treatment, The study of each rudiment culminates in a short solo that utilizes only that rudiment. Each solo has musical accompaniment to aid the performer in achieving steady tempos and musical phrasing, How the Process Works It is important that a metronome be used with this book. Each rudiment has six or seven ‘metronome markings that begin with a slow tempo and gradually increase to faster tempos. These different tempo markings will help students develop control and proficiency at each level. The approach will reinforce and aid the student in the ‘slow-fast-slow’, ‘open-closed-open’ manner of performing rudiments. ‘To the right of each level i line that will mark the progress of the student for each set of ‘exercises, The student or instructor should initial each level alter it has been successtully completed. ‘Only three to four levels of each rudiment have been recorded on the enclosed compact ses. Using the levels will help keep an accurate level of daily progress. Remember that tempo is vital for practicing these exercises and soos, Alter you have mastered all of the levels, you may proceed tothe solo located on the next page. Fach solo corresponds directly tothe rudiment and exercises that precede it. The solos are formatted allowing you to listen to the musical accompaniment and snare solo together, or you may pan to the Ieftsice of your stereo to listen to the accompaniment only. At the end ofthis book, you will find five solos. Each of these solos have an accompaniment on the enclosed compact discs. These five solos will Utilize al 40 of the Standard Rudiments and have been recorded with and without the snare solo, This ‘will allow the student to use the play-along track for student recitals, contests, et. Good fuck in your study of rudiments, [hope that this book will be enjoyable to study and play from, and will serve as a guide for sharing your knowledge of rudiments with others. Ree Table Of Contents a: SBS@RREBRASEES oe i © "The Cat With The Fiddle 41 : a Samba del Oox0 42 Qlick Reference Gude Roll Rudiments A. Single Stroke Roll Rudiments Sas, , ae aa Mati Bounce « 4 B. Multiple Bounce Roll Rudiments is, ‘ipleSuake Rod, HRRUTORRRDTG C. Double Stroke Open Roll Rudiments, bie ake Opn FreSink fo . (cE 7. en eee Seiten , ESS 255 7 SS nS Boesch conan ie SSS, Diddle Rudiments Seventeen Soke Roll 15. ‘Single Para Double Paediile is = ey 1 SSS 117, eee a a TUWCRRTRT ELE “TiplePoadale Sing Pardee 19. RURLRURELRLRLREL WOWRGER DR ELL Flam Rudiments Flom Fam Accent Fam‘tap 1 t 1 oe a =] aT 1 ai. z 2. fee eo nes 3 GBS yy Spree] os, ier eee ate mays | 6. ivaweeateeeads] 97 (een were) og ER ' — — ‘ » (Pein af 2 I i Ta ck beak eal Single Dope 33, (- aaa a Tot CRR Te ETE \ Dig ane Sige tame : a 7 A 37. sae] Double Ratacie 39. Number Single Stroke Roll CD.1- Track 1 1296 NS 1 eee ee J-90 F eek Single Stoke Roll Single Dip Please CD.I- Track? Lalo Davila J=90 Som oo wee See ge Number 2 Single Stroke Four CD.1 Track 3 Below are examples of four stroke oll tha fall be 1 off the beat. Work hard at keeping each stroke even, Also use the left hand lead Sena _ rita Hera Pasa AS RURLR LRLR LRLR LAL RLRLR LRLRLRLRLRL Single Swoke Four = FOr What Four? CDI Tra i Lao Davila 2 se be a> pe ae > Send Sea: Raha . : — WERT RGRE RURLE LR URER CRE URER RUN WIRUR TED RTE zope > Sams SSS ap aS R LRER LRLR we ae eta eaarirtes Number3 Single Stroke Seven CD.1-Track 5 Use the lefthand lead onal fines. J=96 AGE AE Inia HereDatePascod J=120 J=126 33 33 33 33 D a gad faaavedesiee=]} ———— Single Suoke Seven 7 Down CD.1-Track 6 = : Sas Pe mp winters Multiple Bounce Roll CD.1-Track 7 Inexercise A, strike the note nee and leit bounce the remaining ofthe ‘caste Just before the L hand is about to strike, release (lift) the ight hand. Continue this process over and over. tis very important that you tse a metronome 1 asist you in Keeping your strokes and bounces even, Al E = RRRRRRew LEELLiin Apply the same procedures as exercise 2100. 'A¥ Lift before each stroke BHEIE = —= RReee LiL RReee Lien ‘Apply the same procedures as exercise "A. Lift before each stroke. ‘AS the number of notes increase, apply a ite pressure with the bead ‘ofthe stick on tothe drum. Remember to keep all fingers on the J= 100 stick:This process will increase the number of bounces. pS Apply the same procedures as exercise "A". Lift before each stoke. AeEiimmher al onto inreaer npnty a ite pessure withthe bead of the stick on tothe drum. Remember to keep all fingers on the stick. 10. ‘This process will increase the number of bounces, Jen iin eeeeeeeee RRR LL ete. Je110 Procedure same as leter D. Efe} RARER ERERERLRERL RERERIRLRERERERE f Procedure same as letter D. =148 5 gg = Figs rer RURERLRERERE ‘instore! What's The Buzz cies ~~ Al About ? Sound. Tempo doesnot rac alway’ dictate the speed ofthe CDT Track § rol. Ja129 2 *iultptebounce Lalo Davila of = t crese. oS uw Number s Triple Stroke Roll €D.1- Track 9 Itis very important that all strokes are even. Keep the tempos steady J=100 3 3 RRR RRL RR REDE ‘Stroked and bounced, = Sroked and bounced lw 5; ae RRRELIRRRELLRRRLELRRR LLL Tipeswkerot "Triple Decker Special CD. Track 10 Lalo Davila ee ee | > deen Ee ee a oe aa ae A eR Pre SS SSS = a WTLCRRE TRRRELC REEL RRETLORRRILURERTLTR mp Nantes Double Stroke Open Roll CD.} Track IT Bounce letter" Double Soke Open Roll May I Please Have a Roll? CD.1- Track 12 J=120 Lalo Davila Nomber? Five Stroke Roll J=210 MSH RS SSS spas SS5 CD. 1 -Track 13 J=146 9 > 3 > 3 > 3 ries aaa 5 Five Stroke Roll Gimme Five CD1-Track M4 Lalo Davila ! J=120 EeS t Number Six Stroke Roll CDI Track 13, Each leteis.also to be played swith ttt hand lead, Je184 Ja 160 CESS J= 180, : RU RERTRERERER ERE J=116 vi fatbeadbedtteatee D pai a Six Stoke Rott Pick Up Six CD.1- Track 16 Jer20 Lalo Davila = Baha a f anaeen aS Number 9 Seven Stroke Roll 1 Track 17 J=180 stoked J=210 Bounced > J-6 503 > op > 7 ¥ [Eas i I Jarng Abo sete et hand et Seven Stroke Roll Come On Seven CD.1-Teack 18 Number 10 Nine Stroke Roll CDI. Tack 19 Bich levers also tobe played tetanic eo . =o 24 “Ten Stroke Rol Rin Ten Ten CD. i= Track 22 114 Lalo Davila t Number 12 Bach eter is also to be played with left hand lead. J=132 Eleven Stroke Roll CD.1 Track 23 Ae pean samy RRLLRRLERRE RRELRRLLREE. Jarss . . ates eepereeerrrescerrerrecrs Je120 . CH aaa > J=120 Beensecterol Eleven Lords a Leaping 0.1 Track 24 Lalo Davila Number 13, Thirteen Stroke Roll SESE —— J=130 > Be 4 —— Je170 - cay} RERLRLE URERLRI RLRLRIR LRERERE J124 > > > > 1 1 1 t i Twincenswokerct ~—Kourteen Minus One CD. 1- Track 26 Lalo Davita d= 122 tf Number 14 Fifteen Stroke Roll CD. 1-Track 27 Init Here/Date Paste J=168 ASE 9 [pes a aaa)}——— J=176 > . ee Detaled [neat 20 Fifteen Stroke Rol Fifteen to Life CD. * 1. Track 2 Numer'S Seventeen Stroke Roll C.D. - Track 29 ence . eee A(R eansanane RRUTRELERRLURRELR LURK UGRKLIRRILRR J=200 > > BE — RRUURRELRREGRRLER LERRLLRRLERRLLRRT, Je132 > ' Seventcensuoke Rot YOu're 17! Not 21! C.1- Track 30 Number 16 Single Paradiddle CD. 1 - Track 31 ==5}— J= 150 Ale J=100 Single Paraidate Para Todos CD.1 Track 32 J=120 Pe my crese. t Number 17 Double Paradiddle CD. - Track 33 d= 162 CD.}- Track 34 t ' Double Pardidte Double or Nothing 1 t Jai28 Lalo Davila ae dew anne eee aaa TROT ORT RERTRRL RERURRL TORT OR RT RERERR I. 37 Number 18 Triple Paradiddle CD. I- Track 35 Jere, . ‘ne RURLRERR LRERER EL J=130 SS SS DD fe | RUE RERERRERERER EL de144 ES eae d= 160 cana Triple Parade Triple Paradise CD. Tack 36 d=128 bahatamiemt a Aas ame VRERTRLURL GR RERURERERERURTR® LECRERLERTE TEER =e, a rr i SEED Number 19 Single Paradiddle-Diddle CD.1 Track 37 1b played wth eft ha eat. Single Paradidale Diddle Th J=130 f Single Diddle-Diddle Cat With The Fiddle CD. Track 38 Lalo Davila SSS bP SSS MSS aS PR RERRL beds tf aaa ama af Number 20, J=120 AGE Flam CD.1-Track 39 Ge Flam Bake CD.1- Track 40 -manmiipditms WEEE a Flam Accent CD. Track 41 FamAcen It Was No Accent Dent Flam Tap C.D. Track 43 Number 22 Remember to keep your grace notes low. J=120 Ea Pam Tap Flam Tappin' Boogy CDI Track #4 Number 23) Flamaque CDI Track 45 Initia erate Posed J=130 ia! Flat Fla! Ma- Que ! Seams Sa! Saas rae SpRiiossse Sus ataae H nme po MRL 50 Number 28 Flam Paradiddle C.D.1- Track 47 Flam Parade Ma and Pa Diddle CD.1-Track 48 Lalo Davila Number 25 Single Flammed Mill CD. 1-Track 49 J=160 {il Merete Passed Jo118 eaters Grete d P crese. Number 26 CD. 1-Track 51 ‘Tey the single hand isolation on this eudiment. d= 162 ANE EE J=200 is eee Flam Paradiddle-Diddle Little Mo' Diddle Fam Paradidle-didle For the Money CD. 1 - Track 32 _— Late Davila pea a ee SaaS. FERRET Ee LL RTaRT Number 27 Pataflafla CD. I~ Track 53 “Try playing with left hand lead de144 ALA Jer70 Ba B E Se Pati Patalones Flojos C1 Track St J=106 Lalo Davila z RUBE RTRERT BURT RIT Dee ST Number 28 Swiss Army Triplets CD. 1 - Track 55 Pay this rudiment using the left hand lead Je 122 Swiss Army Triplets Swiss Army Ants CD. 1 Track 36 Inverted Flam Tap CD.2- Track] Number 29 Inia HerefDate Pass J=70 E J=80 Fe = - hua Rak Lak ® Number 30 Flam Drag CD.2- Track 3 ak 24 Fam Dag Sam Flam's Disco D.2- Track t Number 31 Drag CD.2- Track 5 Tce al GER ale 1A a SweeDog Ruff The Magic Dragon CD.2- Track 6 J=100 - erese. tf Number 32 Single Drag Tap C.D.2- Track 7 Go Ahead, Single Drag Tap Make My Drag CD.2-Track 8 Ja 108. Lao Davita EZ tata 7 SLE 7 A Number 33 Jeno Double Drag Tap C.D.2- Track 9 Double Drag Tap D.D.T. Banned CD. 2. Track 10 pepe Ese Bree reer rere etree eer ee = ded eer eye of Number 34 Lesson 25 CD. 2-Track 17 Inika HerDte Pans assess} —_—_ u a4 Lesson 25 d=104 Hey! Lesson To Me! CD.2-Track 12 Lalo Davita RRURL R RIRRT LRT, n ‘Number 35, Single Dragadiddle CD.2-Track 13 Ind HereDate Pane > faiaadaaa ao a SnpePregattite Dragadiddledooooo! CD.2 Track Lato Davia d= 102 7 aa ee RURRT Sobsimnsss tien wr TRLRE RRERTIRER RER T = ?>——— Drag Paradiddle # 1 Nomber36 CD.2- Track 15 J-98 . AME Fata Se dagramadaet! Number One On Your List CD.2- Track 16 deo . San an éy POSER ERAT ED Eun RCRRI TR REET se SSD Tae, | His EAT TR RERRER RE & 1 TRI, ® RERR aoa eae Taverne feet numer Drag Paradiddle #2 CD.2- Track 17 Riu Rink LR Ri eaLaW RL 76 Drag Parade #2 Second To One CD.2- Track 18 Je104 Lalo Davila f numer? - Single Ratamaque CD.2- Track 19 Inia Heute Passed SincRaamve Drag To Be Single D.2- Track 20 79 Number39 Double Ratamaque CD.2-Track 21 You Dirty Rat CD.2- Track 22 2 numero ‘Triple Ratamaque CD.2-Track 23 ‘Triple Ratamague J=100 The Real Maque CD.2- Track 24 Lalo Davita La Polka Loca comune Polka Loca. — ee ee ee Bais: fiolitasvasaeees a a LaPala Loos 92 EE Sons Ses _.....Yo! Whas Down? ds caret Ob tee hase silo Dente [alsestae Sie sansa BD - - oe af A % ‘Yo! Whas Down? p2 88 Dnt Anon That p2 Ltn for hse es 00 she rearing Final Lap Dr pa se Lalo Davila aaa BSS Fil Lap p2 DS a Code a Samba del "Boro Lalo Davila =F we RRERRE RL 2 94 CCheck-off the rudiments and solos you have completed. Quick Reference Guide Faisal Foden Paeoa] Saarayecot Sigler Rll ‘Sole Sroke Four ‘Sigl Sore Seve ite Bounce Ro le Soke Ra Double Soke Ope8 Ro Five Stoke Rall [Sx Seoke Rot Sever Soke FS Re Soke Rol Ten Soke Ra Even Ste Rot nie Soko Rol Fiten Soke Re Soversan Stoke Ral Sige Pande Dosble Presale Tigi Pare Single Peasdediae Fam Reon Fem. Fimone Fam Parade Sil Fle a Fam Preis le Pata Ses Ay Tilt vag Fin Ta Fan Drop singe rape oxo a0 Ta essen 28, Singles rap Pareiode ean Presi 2 Sing Ramone Dovble Rataracie s[ale[sls[alelele[=[s[2 [5/8 /8/]2| Fie Retro for ‘te iremers a tay ont foe) Ingress an oad Jo die