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<\/a><\/div>\nJust a super-useful embellishment. Indispensable when playing brushes. A proper, classically-executed 4SR is three very soft grace notes and a main note, played as tight as you can make them\u2014 it should not sound like a rhythm. On the drums we have more freedom with them. You can also do them rock & roll style, and make a 16th note triplet out of them, a la Neil Peart. And you can put them around the drums to make a lick that was very popular in the early 70’s<\/a>.<\/p>\n Six-stroke roll<\/b><\/p>\n Either 16th note or sixtuplet form. Hip, and fun to play. Steve Gadd plays them a lot, as does Dave Weckl<\/a>.<\/p>\n Here’s how they are played, and how they are usually written in 16th note pulsation form\u2014 a Stewart Copeland-like thing<\/a> is to play these on the hihat:<\/p>\n Paradiddles \u2014 first inversion<\/b><\/p>\n It’s just a hip rudiment. It’s all over this performance<\/a>, which basically defined modern fusion drumming\u2014 just move your right hand to the cymbal or hihat, and add bass drum. You can also mix up the accents between the two single notes. Useful for sambas<\/a>.<\/p>\n Flamacue<\/b><\/p>\n This very old-fashioned rudimental flourish happens to be very good for getting your shuffles together.<\/a><\/p>\n Continued after the break: Flam accent #1<\/b><\/p>\n<\/a><\/div>\n
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