Intermediate

Each exercise comes with a PDF download and YouTube link for play-a-long videos for snare and tenor. PDF’s and YouTube links will be emailed within 24 hours of purchase.

Intermediate Exercise Bundle

Exercises in this bundle include: Eighth Note Flams, Niner Niner, Flip Flop, Paradiddle Development, The Block II, Double Beat – CPS, Sixteenth Note Double Strokes, and Flam Accent Development.

45.00 C$

Eighth Note Flams by Michael Beauclerc

“Eighth Note Flams” is a introduction to flam strokes for snare and tenor drummers, beginning with consecutive flams (all the same hand) in measures 1 – 4, and alternating flams (RLRL) beginning in measure 5. This is the first of our exercises to use a nonlinear bass drum melody. Its more creative and musical than a linear (up-down) melody.

7.50 C$

Niner Niner by Michael Beauclerc

“Niner Niner” is an evolution of a classic exercise known as “Double Beat”. “Niner Niner” focuses on single, double, and triple strokes in a full ensemble setting, and in split rhythms. The note groupings of single, double, triple (1,2,3) stay in that order. This means that if you are beginning a double, then the pattern will be 2,3,1. A nice trick for the snare drummers is that the new pattern always begins with the last number from the previous one – (1,2,3) (3,1,2) (2,3,1)

7.50 C$

Flip Flop by Michael Beauclerc

“Flip Flop” is a classic or “old school” style single stroke exercise. The sticking (rights and lefts) are alternating throughout the entirety of the exercise. Due to the transition from measure ten to eleven, the end of the exercise feels like a long single stroke roll beginning on the left hand. The cymbals have split (two part) patterns and a unison final note. The Tenor drummers may begin learning the exercise on drum 2 only, and move to the other drums after the rhythm and stickings are OK.

7.50 C$

Paradiddle Development by Michael Beauclerc

“Paradiddle Development” is built with a “short short long” pattern, and should be the first introduction of the paradiddle rudiment to new drummers. Students can use an old drumming technique of “play them the way you say them”. A diddle is an older term for a double stroke. Students would say “Par, ra, di, dle, Par, ra, di, dle,… and play R, l, r, r L, r, l, l. Tenor drummers can begin playing on drum “2” only and add the melodic movement as they improve.

7.50 C$

The Block II by Michael Beauclerc

“The BLOCK II” is the second generation of “The BLOCK”, and an introduction of thirty -second note rhythms. It is what we call “block writing” when all the instruments play the same rhythm at the same time. The exercise ends with nice simple thirty-second note run for the basses in the final measure.

7.50 C$

Double Beat – CPS

This updated version of the classic Double Beat exercise is a favourite of the Colborne Public School Drumline. It begins with the snares and basses playing the double stroke melody while the tenors play a tap roll with accents on count one as a supporting rhythm. Later the instrumentation rolls are reversed. This teaches the drummers to understand how to control the rebound and tempo of the double strokes so they stay in time with the tap roll rhythm. As the exercise continues, the snares switch into a triple stroke pattern which provides an interesting counter point when played against the tenor and bass rhythms. The exercise culminates in “triple stops” for the snares, “double stops” for the tenors, and the bass drums playing in unison.

7.50 C$

Sixteenth Note Double Strokes by Michael Beauclerc

“Sixteenth Note Double Strokes” is a double stroke roll exercise built in a sixteenth note grid pattern. Tenor drummers may begin learning the exercise on “drum two” until they are comfortable with the execution of the rhythms and stickings. The double strokes in the bass line are primarily in the upper two drums but are included in the lower voices for the ending.

7.50 C$

Flam Accent Development by Michael Beauclerc

“Flam Accent Development” is a two-height exercise to help drummers develop the Flam Accent rudiment. In the first two measures the performers are playing what a single hand plays when the rudiment is broken down. The in measure 3 the two hands play at the same time creating the flam accent rudiment. Next the accent is moved to different partials for snares and tenors to create a split rhythm sequence. The exercise finishes with the “flam taps” rudiment for the snare and tenors. A good tip is to experiment setting the metronome at double the tempo marking and use it as the dotted eighth note.

7.50 C$