Often called Open stroke roll or Rudimental roll, the double stroke roll can take considerably longer to develop than the Buzz roll or Single stroke roll.
The double stroke roll is most commonly but not exclusively used in marching band. No matter the situation in which it is used there are several exercises and routines one can adopt to develop this style roll. Note that these concepts are to be used with mature intermediate to advanced players.
There are many resources that contain exercises and patterns to help players build, develop, and maintain their double stroke roll. Three books I highly recommend and will refer to in this article are:
There are roughly three types of exercises which are commonly used to develop the double stroke roll:
From the three resources I have listed above…
For syncopated exercises:
Peters, page 39, numbers 3, 13, 16, and 17
Wooton, pages 44 – 48, numbers 1, 5, 6, 8 – 12, 29, and 31
For Inverted double strokes:
Peters, page 43, numbers 1 – 12
Stone, pages 16 – 20, all numbers
For Accent Patterns:
Peters, pages 16 – 19, all numbers, using all right, all left, RRLL, LLRR, RLLR, or LRRL sticking
Stone, pages 4 – 15, all numbers
Wooton, pages 8 – 12, all numbers
Remember this is a concise list of suggested exercises. Almost any exercise can be utilized to develop the hands for producing a high quality double stroke roll as long as that exercise is approached or modified in the correct manner. The resources, patterns, and exercises are almost limitless. Allow and encourage players to find regimens that work best for them. Other helpful exercises are Single to Double stroke patterns such as found in Peters, page 43, numbers 13 – 17, Paradiddle Rudiments, and Paradiddle based exercises.
Another very important element one may want to consider when developing the double stroke roll is adding resistance to the surface. A misconception when first attempting double stroke rolls is, “I’ll throw the sticks down toward the drum and hope for the best!” When this occurs the second note of a double stroke will be softer than the first note and will likely occur earlier than it should. Regardless of the approach the second note of a double stroke always requires extra effort from the player. This is because of the loss of energy transferred to the drum head from the first stroke and gravity. Many of the exercises outlined above help to counter this natural reaction.
Resistance can be added to the drum by placing a large bath towel, completely unfolded, over the surface. This could mean any drum or practice pad surface. Use a watch or clock with a second hand, play double strokes (RRLL) as evenly as possible, and at forte for 30 seconds. It is critical that both notes of the double are equal in volume and are evenly spaced (i.e. eighth, sixteenth, or thirty-second notes.) Do not speed up or slow down – find a comfortable tempo that will give the player a challenge but not fatigue prematurely.
After playing for 30 seconds, fold the towel once, lay it again over the surface, relax the hands for about 30 seconds, and continue the to play double strokes again at the same tempo and dynamic for another 30 seconds. Repeat this process until the towel cannot be folded anymore. With each fold of the towel the natural rebound from the surface is gradually removed making the player work to overcome that loss.
Once the towel cannot be folded anymore reverse the process and unfold the towel, play for 30 seconds, rest for 30 seconds, and continue unfolding the towel until there are no folds. Remove the towel completely and play directly on the drum or pad surface. The player should notice an improvement, although marginal, in the quality of his or her double stroke roll and the ease with which it is achieved. Repeating this process daily, even several times a day, for several months is necessary to obtain a significant benefit from this workout.
Any pattern may be used with this same procedure (i.e. paradiddles, single strokes, accent/tap exercises) however doubles are probably best. Playing several sequences with the towel folded in half or thirds is a variation of this workout with which one may want to experiment. It may be a consolation to some that this resistance workout can be done while watching TV, listening to an iPod, etc. as it doesn’t require much concentration, just discipline.
As players begin to build up their endurance and strength, by using this workout, increase the time by 15 seconds every couple of weeks. Most importantly discontinue immediately if you are experiencing any sharp pains. It is important to stretch the wrist, hand, and fingers before beginning any type of lengthy and rigorous playing.
After doing this workout regularly for many years I have noticed a tremendous improvement in endurance, strength, and increased quality of my double stroke rolls. My students, to whom I have recommended this resistance workout, have noticed the same. Improved speed will be the reward for daily practicing a combination of exercises, this resistance workout, and using the methods mentioned earlier. When using this workout to develop strength, endurance, and speed it is most important to remain relaxed. It may seem counterintuitive but the faster and louder one desires to play the more relaxed one needs to be. Tension in the forearm, wrist, fingers, etc. will only slow a player down not to mention potentially cause irreversible damage.
Finally, enough cannot be said for the amount of determination one must intrinsically have to develop any one aspect of playing. The best methods, resources, regimens, or teachers are virtually all ineffective if students do not have that burning desire to accomplish what seems, at first, impossible, too time consuming, or too difficult.
The double stroke roll is most commonly but not exclusively used in marching band. No matter the situation in which it is used there are several exercises and routines one can adopt to develop this style roll. Note that these concepts are to be used with mature intermediate to advanced players.
There are many resources that contain exercises and patterns to help players build, develop, and maintain their double stroke roll. Three books I highly recommend and will refer to in this article are:
- Developing Dexterity, Mitchell Peters
- Accents and Rebounds, George Stone
- The Drummer’s Rudimental Reference Book, John Wooton
There are roughly three types of exercises which are commonly used to develop the double stroke roll:
- Syncopated rhythms
- Inverted double strokes
- Accent patterns
From the three resources I have listed above…
For syncopated exercises:
Peters, page 39, numbers 3, 13, 16, and 17
Wooton, pages 44 – 48, numbers 1, 5, 6, 8 – 12, 29, and 31
For Inverted double strokes:
Peters, page 43, numbers 1 – 12
Stone, pages 16 – 20, all numbers
For Accent Patterns:
Peters, pages 16 – 19, all numbers, using all right, all left, RRLL, LLRR, RLLR, or LRRL sticking
Stone, pages 4 – 15, all numbers
Wooton, pages 8 – 12, all numbers
Remember this is a concise list of suggested exercises. Almost any exercise can be utilized to develop the hands for producing a high quality double stroke roll as long as that exercise is approached or modified in the correct manner. The resources, patterns, and exercises are almost limitless. Allow and encourage players to find regimens that work best for them. Other helpful exercises are Single to Double stroke patterns such as found in Peters, page 43, numbers 13 – 17, Paradiddle Rudiments, and Paradiddle based exercises.
Another very important element one may want to consider when developing the double stroke roll is adding resistance to the surface. A misconception when first attempting double stroke rolls is, “I’ll throw the sticks down toward the drum and hope for the best!” When this occurs the second note of a double stroke will be softer than the first note and will likely occur earlier than it should. Regardless of the approach the second note of a double stroke always requires extra effort from the player. This is because of the loss of energy transferred to the drum head from the first stroke and gravity. Many of the exercises outlined above help to counter this natural reaction.
Resistance can be added to the drum by placing a large bath towel, completely unfolded, over the surface. This could mean any drum or practice pad surface. Use a watch or clock with a second hand, play double strokes (RRLL) as evenly as possible, and at forte for 30 seconds. It is critical that both notes of the double are equal in volume and are evenly spaced (i.e. eighth, sixteenth, or thirty-second notes.) Do not speed up or slow down – find a comfortable tempo that will give the player a challenge but not fatigue prematurely.
After playing for 30 seconds, fold the towel once, lay it again over the surface, relax the hands for about 30 seconds, and continue the to play double strokes again at the same tempo and dynamic for another 30 seconds. Repeat this process until the towel cannot be folded anymore. With each fold of the towel the natural rebound from the surface is gradually removed making the player work to overcome that loss.
Once the towel cannot be folded anymore reverse the process and unfold the towel, play for 30 seconds, rest for 30 seconds, and continue unfolding the towel until there are no folds. Remove the towel completely and play directly on the drum or pad surface. The player should notice an improvement, although marginal, in the quality of his or her double stroke roll and the ease with which it is achieved. Repeating this process daily, even several times a day, for several months is necessary to obtain a significant benefit from this workout.
Any pattern may be used with this same procedure (i.e. paradiddles, single strokes, accent/tap exercises) however doubles are probably best. Playing several sequences with the towel folded in half or thirds is a variation of this workout with which one may want to experiment. It may be a consolation to some that this resistance workout can be done while watching TV, listening to an iPod, etc. as it doesn’t require much concentration, just discipline.
As players begin to build up their endurance and strength, by using this workout, increase the time by 15 seconds every couple of weeks. Most importantly discontinue immediately if you are experiencing any sharp pains. It is important to stretch the wrist, hand, and fingers before beginning any type of lengthy and rigorous playing.
After doing this workout regularly for many years I have noticed a tremendous improvement in endurance, strength, and increased quality of my double stroke rolls. My students, to whom I have recommended this resistance workout, have noticed the same. Improved speed will be the reward for daily practicing a combination of exercises, this resistance workout, and using the methods mentioned earlier. When using this workout to develop strength, endurance, and speed it is most important to remain relaxed. It may seem counterintuitive but the faster and louder one desires to play the more relaxed one needs to be. Tension in the forearm, wrist, fingers, etc. will only slow a player down not to mention potentially cause irreversible damage.
Finally, enough cannot be said for the amount of determination one must intrinsically have to develop any one aspect of playing. The best methods, resources, regimens, or teachers are virtually all ineffective if students do not have that burning desire to accomplish what seems, at first, impossible, too time consuming, or too difficult.