1.Multi Bounce Roll Technique
This time, a useful snare drum rudiments technique that you won’t use on the whole drum set, but sometimes on a snare drum.
In addition, this technique teaches you better control over the stick’s bouncing and balance.
The technique consists in free rebound of the stick from the elastic surface of the snare or drum pad.
Strike loosely releasing the stick, and it performs several bounced strokes. In the basic version you hold the stick between your index finger and thumb (the thumb additionally presses the stick from above, which increases the number of bounced strokes).
The remaining fingers (3,4,5) do not take an active part in the impact, they can just tighten the stick to the stroked surface.
In addition, you can pull your hand towards you when hitting, which increases the number of bounced strokes (it is easier to make more strokes when you pull your hand towards you).
By striking densely with both hands (single strokes with repeated bouncing of the stick after each hit), you will get the so-called Tremolo – a very effective type of continuous sound (bounced impacts merge into one continuous sound).
This is not a universal technique – if the impact surface is not elastic, you will not be able to bounce the stick.
Start practicing this technique by bouncing twice – your right and left hand, hitting the snare, make two bounces, increase the number to three or more over time.
2.Practice with metronome – two tips for a better timing
Every drummer knows that he has to practice with a metronome, but it’s worth doing it consciously!
Treat the metronome not as a soulless machine or a “guardian” who watches every stroke you make, but think of the metronome as the musical instrument you play with. This perception of the metronome changes a lot.
1. I hit precisely = I can’t hear the metronome.
If the metronome is not too loud, the impact on the snare drum – and even the drum pad – exactly with it should drown out the sound of the metronome. This means that if you can hear a metronome or even a part of its sound then you probably don’t play exactly the point.
Try to train this relevance – ideally in the sound of the metronome, so as to stop hearing it.
2. Setting the metronome to the main note in a measure (1 2 3 4) is not the only way to work. Even more interesting is setting the metronome to a different value, such as “and”, i.e. for eighths between 1 2 3 4 (on off beat), or only on 2 and 4 in a measure.
When you play the triplet pattern, you can set the metronome so that it strikes not for 1 2 3 4 but for example for the third triplet in the group, ahead of the measure by one stroke triplet.
The new way of setting the metronome will be difficult at the beginning, but it will develop your timing more and will be an interesting musical adventure.