BUDDY RICH MODERN INTERPRETATION OF SNARE DRUM RUDIMENTS PDF

He bought his first snare drum when he was thirteen and learned to play it without formal instruction. Two years later, he got a job playing at a hotel in Belmar, New Jersey. He began lessons with a professional pit drummer from the Palace Theater and studied timpani in his high school orchestra. Buddy was only in his teens at the time and his friend was my first pupil. Buddy played and I watched his hands.

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Personality[ edit ] Rich was notoriously short-tempered. Top this! He used the matched grip when playing floor toms around the drum set while performing cross-stickings crossing arm over arm , which was one of his party tricks, often leading to loud cheers from the audience.

Another technique he used to impress was the stick-trick, a fast roll performed by slapping two drumsticks together in a circular motion using "taps" or single-stroke stickings. He often used contrasting techniques to keep long drum solos from getting mundane. Aside from his energetic, explosive displays, he would go into quieter passages. One passage he would use in most solos started with a simple single-stroke roll on the snare drum picking up speed and power, then slowly moving his sticks closer to the rim as he got quieter, and eventually playing on the rim itself while still maintaining speed.

Then he would reverse the effect and slowly move towards the center of the snare while increasing power. Though well known as a powerful drummer, he did use brushes. Adler said, "The kid told me he played better than Krupa. Buddy was only in his teens at the time and his friend was my first pupil.

Buddy played and I watched his hands. Well, he knocked me right out. He did everything I wanted to do, and he did it with such ease.

When I met his folks, I asked them who his teacher was. That made me feel very good. I realized that it was something physical, not only mental, that you had to have. I set out to teach Buddy to read. Tommy Dorsey wanted Buddy to write a book and he told him to get in touch with me. I did the book and Tommy wrote the foreword. Buddy would just sit in the empty audience seats in the afternoon and listen to the band You can only get better by playing.

And practice, besides that, is boring. I know teachers who tell their students to practice three, four, six hours a day. I could think of a hundred ways to use my hands rather than to break them on the rim of a drum. Gene Krupa defined him as "the greatest drummer ever to have drawn breath".

A second volume was issued in

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Buddy Rich's Modern Interpretation of Snare Drum Rudiments

His first professional playing job took place when he was fifteen years old at the Belmar Hotel in New Jersey. He subsequently worked in several pit orchestras in theaters, as well as for traveling big bands. Adler was known for constantly arranging sessions with other drummers and teachers to improve his own skills. What developed, in addition to his techniques as a drummer, were his techniques as a teacher. The store became a hub for percussionists and a candy store for starry-eyed students such as future composer and educator Sandy Feldstein I got such a kick out of just being in there. The drumsets were all so new and innovative to me, and often I would rub shoulders with the great drummers.

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Buddy Richs Modern Interpretation of Snare Drum Rudiments contains a systematic course for the beginner, and is a great value to the teacher and professional who wishes to increase his knowledge of rudiments. In addition to the elementary principles of music, there are 83 lessons of exercises and rudiments, 21 reading exercises, 10 exercises employing rudiments, and advanced rhythmic studies. Richs ability and genius in the drum world make this book one of the landmarks of drum literature. File Name: buddy richs modern interpretation rudiments.

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