Faster Hands & Feet (in 10 days)
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“I learned a rudiment. Now what do I do with it?”
Juan Mendoza’s book Rudiment Creativity answers that question - and then some - by introducing 11 methods for adapting each rudiment to the drum set in a creative way. Anyone can play this stuff, not just seasoned drummers.
In this game-changing video lesson, you’ll learn what those 11 methods are and how rudiments can be applied to grooves. Juan recommends starting with just one of the methods (get outside your comfort zone and choose one you wouldn’t normally think of) and exploring rudiments in a non-traditional sense.
Lesson Index:
0:21 - SONG: “Nada es Imposible” by Rene Gonzales
4:24 - Introduction
7:39 - Splitting hands
10:37 - Moving the right hand
11:55 - Moving the left hand
14:55 - Sweeping inward & outward
17:35 - Subdivision adjustment
19:50 - Substitution
21:25 - Displacement
22:48 - Using a rudiment as an ostinato
24:05 - Adding accents
26:55 - Moving the accents
29:09 - Changing the time signature
31:00 - SOLO
35:40 - Takeaways
36:28 - SONG: “Odd Movements” by Damani Rhodes
The Methods
1. Splitting hands
Instead of treating a rudiment pattern as a one surface exercise, split it between two surfaces (ie. snare and tom). Try with both right and left hand lead.
2. Moving the right hand
While playing the same pattern, start moving the right hand around the toms to create more textures.
3. Moving the left hand
You can keep moving the right hand around while you start moving the left around, or keep the right hand steady and move the left between the hi-hat and the snare.
4. Sweeping inward & outward
Create melodies by sweeping inward (letting the sound sources come toward the body) or sweeping outward (moving away from the body). Try this with a double stroke roll. In this video, Juan swings the doubles.
5. Subdivision adjustment
Give the pattern a different flavor. Play an 11 stroke roll (organized around a sextuplet) and breaking it up around the kit with different accents.
6. Substitution
Substitute one limb for a different one. Try playing a paradiddle diddle where you sub the left hand for the bass drum.
7. Displacement
Instead of always starting on the downbeat, put the ‘one’ on a partial or any subdivision.
8. Use the rudiment as an ostinato
Play paradiddles and put an accent on the downbeats. Use it in a groove context and get creative.
9. Adding accents
With that same paradiddle pattern, you can move the accounts around to the e, the and, the a, and so on. Paradiddles don’t have to sound mechanical; you can make them groove!
10. Moving the accents
Add accents to a double stroke roll. Move them around. Try combining them with sweeping in and out.
11. Changing the time signature
Let’s say you’d normally play a paradiddle with 16th notes in 4/4 or 6/8. Try playing it in 7/8, letting it drift over the bar line. This is a great way to train your ear so when you’re soloing or playing something tricky you can understand how everything falls into place.
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