The Rudimental Ritual (100 bpm)
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- Опубліковано 18 гру 2017
- A transcription of Alan Dawson’s famous Rudimental Ritual based on John Ramsay’s excellent book, The Drummer’s Complete Vocabulary (a.co/0iYDpxQ). This version has been modified to more closely match the audio tracks that are included on the CD that accompanies the book. The entire ritual is to be played over a bossa nova foot ostinato.
This is one of my all-time-favorite drum kit exercises, and it took me a long time to play it all the way through. I made these videos because the CD tracks are too fast, and it’s very difficult to flip through all 13 pages while practicing. Special thanks to my drum instructor, Jake Evans, for introducing me to The Rudimental Ritual and for checking my work.
The playlist includes seven tempos from 100 bpm to 220 bpm to make it easier to learn and practice the ritual. For reference, the “slow version” played by John Ramsay on the CD is around 160 bpm. The “fast version” played by Alan Dawson is around 220 bpm.
The transcription and video was made using Sibelius (www.sibelius.com) from Avid. The audio track was exported as MIDI from Sibelius and edited using Logic Pro X. The drum sounds are from Superior Drummer 3 (www.toontrack.com/product/sup...) by Toontrack and were selected because their crisp, fast attack makes it easier to hear the individual strokes. The final video was created with Adobe Premiere Pro.
Enjoy!
In many ways this is the hardest tempo because of how precise you need to be. There’s no bullshitting anything when it’s this slow
This transcription is an amazing free resource, especially combined with yt's custom playback speed. Thanks so much!
Thanks! Did you also notice that it is part of a playlist with different tempos? ua-cam.com/play/PLT_BppLrDjtjQKMMA1sih9XyPQITjs-7B.html
No I did not. Nice tip.
Twice with brushes and once with sticks everyday to get those Tony Williams chops. Of course you need to memorize the song first. Alan Dawson was a genius teacher and player. The Yoda of drumming.
Which song?
@@drewjonespdx The ritual itself is a song that you should memorize. There are a lot of lessons about phrasing, and form therein. 😊 🥁☯️
Very nice. I have such tremendous respect for the late (and always, the great, great, great) Alan Dawson-- a phenomenal player, and brilliant teacher.
Thanks a billion! This definitely makes my life much easier. I just wish I had found this sooner. Thanks. :)
this is a craziest thing on you tube :)
Superb. I expect this to take my playing to the next level.
Excellent demo! Had a little trouble interpreting how some of these should be played -- this was very helpful!
I can just about play the thing from beginning to end and my playing has already sharpened massively. Wish this would have been around when I was learning drums long ago. Thanks for posting!
So glad to hear that! You're very welcome.
WIELKIE DZIĘKUJĘ!!!! :)
This is a wonderful study tool for those of us learning and teaching the rudimental ritual! I have also found the slow version on the cd to be a bit fast for practical purposes. One needs to work a great deal to achieve the cd slow version and, at first, can seem a bit daunting. This is an excellent addendum and I will recommend it to students and colleagues. Thank you for sharing!
Thanks! I'm really glad to hear that others find it to be useful. Good luck!
Very impressive........just off to copy, then hot belt to the pad.
他の方と一線を画し…バｽドﾗ が鮮明で分かり易しです💡
Súper great!!! Thank you Michael
Insanely useful!!! Thank you very much man!
thats so awesome. i cant thank you enough!
Thank you for this great resource!
You bet!
So great! Thank you so very much!
Beautiful, thank you. I used to work on this about 7 years ago then forgot about it. But i want to get back in.
The versions that come with the book are indeed a monstrosity. They haunt me
Thank you very much! This will be very helpful!
thank you for sharing your effort!!!!!!!!
there’s definitely a band teacher using this right now somewhere
beautiful michael!!!
you just feel empty .. once the video stops.. and i's just sitting on my bed with the light off the entire 25 minutes lol
tremendo aporte, gracias !!!!!!!!
A drummer friend of mine in the Royal Marines has memorised this....swot
Thank you mate I appreciate it
Thank you for all of your hard work to put this together!! Is PDF of this available in somewhere?
Unfortunately, I don't have a PDF, but you can find it in John Ramsay's book noted in the description.
Muchas gracias !!!!!!
Thanks a lot!
Love this ❤❤
the reverse windmill seems easier to wrap my head arnd, lol
also some arent in the 40 but are hybrids?? wow !
Thanks, super helpful
This exercise as a « ritual » man this is a BEAST !!!
When I warm up with this, everything I play afterwards seems so natural.
@@MichaelDSwanson I believe you. I was wondering how you introduce this ritual to beginners ? Thanks for your reply
I wish I could offer some advice, but I'm not an instructor...just a student. Any teachers reading this have some useful advice?
The measure 176 in your notes looks exactly the same as the measure 173. Similarly, the measure 180 looks exactly the same as the measure 177. I noticed the same problem in the latests reedition by Alfred Music Publishing. If these were really the same measures, "due volte" would have been used there. Some older reprints of the A. Dawson's rituals show a real difference between the measures in question. The second halfs of m. 176 and measure 180 are halfs of the paradiddle (unaccented): That is, measure 176 should be: F L R (F) R L R R, instead of F L R (F) F L R (F); and measure 180 should be: (F) R L F L R L L instead of (F) R L F (F) R L F. By the way, the older reprints also had a minor error in the measure 176: the second flam's accents was put over the next neighbouring eight.
Hey Mike, would it be possible to get a copy of the midi file used to create this? This is so helpful and I would like to be able to do things like switch out the foot ostinato to help myself hear this over other patterns and rhythms. Thanks!
Here's a version I made a number of years ago when someone asked for these without the foot ostinato. Hope it helps! www.mikeswanson.com/files/Rudimental_Ritual_No_Foot_Pattern_Optional_Click.zip
@@MichaelDSwanson I'll check it out. Thank you so much!
Thanks!
Cool. Thanks.
Amazing work, Michael!
Any chance to buy the Logic Pro Project file from you, so I can open it and control the tempo? It will be for personal proposals only.
Thanks in advance.
Thanks! I don't currently have any plans to sell the original files...they're a bit of a mess...just enough to make these videos. If you didn't know, there are multiple tempos available in this playlist: ua-cam.com/play/PLT_BppLrDjtjQKMMA1sih9XyPQITjs-7B.html
Michael Swanson okay, no problem, thanks! Best wishes!
Thank you for doing this, it's a helpful resource. I wanted to talk about some of the errors. "Andraisins" is correct in his comment below that the sticking for bars 371 through 374 on the DadaFlams should be RRL LLR. However, your version is correct in mm 176 and 180. It's four full measures of pataflaflas, right handed, then left handed. The most egregious mistake is in m. 313, however. Beat 4 shoud be two right handed eighth notes to complete the flamadiddlediddle and two left handed eighth notes on the repeat. John Ramsey plays what he wrote in that measure, but Alan Dawson doesn't. That measure made no sense to me and tripped me up for a month, but it's a mistake. I hope this helps people. I almost had this memorized, but that measure was stopping me cold every time!
Thanks for taking the time to review this. I was pretty sure there had to be an error here or there, even though a bunch of folks reviewed it in detail before publishing. So many notes...it was quite a project. I wish UA-cam allowed me to replace a video, as it would be easy to fix otherwise. Unfortunately they don't. :(
Hi brian, how do you introduce this program to beginners?
@@woodruffbrian many thanks. I can’t find his Book, could you please send me a link ?
@@normandydrumstudios The Rudimental Ritual is not for beginners. However, if you want to get a start on it, John Ramsay's book is the best source. However, all of the mistakes in the UA-cam version are as they are printed in the Ramsay book. Look for the PDF printing from the Percussive Arts Society for a more accurate printing. But even then, there are some transitions that Mr. Dawson leaves out, so you need to reference HIS recording of the ritual, which is included with Ramsay's book.
0:19
Thank you Mr. Swanson! This must have been a very time consuming project and I credit you for your tenacity. I was having some difficulty interpreting the audio recording from the Ramsey book as there is a heavy reverb effect on the audio that tends to wash out and muddy up the clarity of the notes and as you mentioned the tempos are a bit fast for us mere mortals when starting out. The other challenge was hearing where the foot ostinato lines up under the snare patterns particularly in the triplet phrased rudiments. I love the laser precision you have created here.
Question, why are the rolls played as single strokes, was this a limitation of the midi programing?
Thanks again, you have re-inspired me to master this ritual, I had lost hope.
Thanks for the kind words, Bill. I appreciate it!
As for the rolls, yes, they turn into much more distinct notes at the slower tempos. Also, this is how Sibelius (the software I used) chose to play those rolls...I didn't have any direct control over its interpretation.
As far as I understand, the playback is accurate. If you take a look at measure 89 (the Five-stroke roll section), indeed, you're meant to play four individual "roll strokes," then finish with an accented note. The first note is shown in 16-note roll notation (with two slashes through the stem), meaning that the drum should be struck repeatedly at 16th note intervals for the duration of the note.
@@MichaelDSwanson Thanks for clarifying, I referred back to chapter one of the book and it all makes sense now. A human will naturally tend to ever so slightly accent either the first or second note of an open roll based on the push or pull mechanics of the stroke for each hand. I am used to hearing that slight dynamic difference and it caught me off guard at first. Keep up the good work!
Wonderful work!! I have been working on the Ritual for years. I don't have Dawson's book, I have been working off a photocopy from it. There are a few discrepancies between my copy and your transcription and I'm wondering if those are the "modifications" you speak of. Again I 100% appreciate your work and I'm not trying to undermine it in any way, just wondering if these differences are for any specific purpose:
Bars 176 and 180 end with Single Paradiddles
Sticking for bars 371 through 374 should be RRL LLR...
Cheers, thanks!!!
There are a couple of minor sticking errors, and it sounds like you found them. Otherwise, the alignment with the audio CD is mostly related to the final set of measures. Glad you're enjoying it!
Thank you. That's been bothering me. Of course I've been practicing it wrong for a while now!
15:23 Innovations
20:30 Chopsbuilders
the book have most exersise that other books . but also bring Rundiments of Buddy Rich and joe morello
nice!!
Thanks!
Hi Michael! Thank you for taking to time to make this transcription. Is there a way I can pay you a one-time fee to download the video? I ask because the frequent ads are quite distracting. Thanks!
Ack! I'll do you one better. I didn't realize that there were ads in the middle of the videos. That's annoying. I've turned them off across the whole channel. Thank you for the heads-up!
@@MichaelDSwanson Wow.. thank you so much for doing that! That’s huge 👍
Has anyone worked out clipping each into repeating a line?
I do tons of rudimental writing for a large fife and drum website in New York State. Would love to have a conversation with you. I am looking to move from Finale to Sibelius. First thing I want to know is how to convert 5 line staff to 1 line.
I wish I was the right person to talk to, Maurice. This is the first piece I've ever notated with software, and I learned just enough about Sibelius to do it. I only learned enough to make this piece, and unfortunately, I don't have any experience with Finale.
Thanks for the reply. I spent a lot of yesterday researching it and answered a lot of my own questions. Seems to usually be an easy way to do it in Sibelius, but I am not always sure where to look.
Does it make sense to ask if you can transcribe it with the bass/hi-hat bossa nova ostinato against the rudiments? I am having trouble tracking how the ostinato goes with the rudiments when the rudiment time is odd.
It certainly makes sense to ask! As you can probably imagine, this was a massive project, and I don't have any plans to revisit the source material. In my case, I just played the ostinato over and over again without the snare until it was almost automatic. Then, I would practice over the top. Once you have the ostinato down, it never changes, and you can always slow yourself down to work through the challenging sections. I have a feeling you'll get it after a little more practice!
Why am I hearing a bass drum but no bass drum part is written.. Is there something some other place in the book this came from that says play the bass drum on 1 and 4?
Great question, Brad. There's a bossa nova foot ostinato that is meant to be played throughout the whole piece. While it's not explicitly notated, you can hear the pattern at the beginning of the video.
do you have a midi file
the bible 🙏
Do you have the music in pdf?
I don't have a PDF, but you can find it in the book, The Drummer's Complete Vocabulary (link in the description).
Thank you so much! Bars 337-338 are pin in the ass, can't get them down already for 6 months...
I agree that they're very hard to "hear." I'm getting better, but I also struggle with those same bars.
Why no hi-hat on 2 & 4?
Is there somewhere you don't hear them, Ed? They can be hard to hear for sure, but they should be there throughout the whole piece.
@@MichaelDSwanson I hear what sounds like a cowbell on 2 & 4 in the first 2-3 seconds; then, nothing. I'm using headphones.
@@edsoph7006 I think the "cowbell" you're hearing is the sound of the hi-hat sample. I hear it as a hi-hat, but perhaps you're hearing it otherwise.
Here's the isolated bass and hi-hat foot ostinato (this one at 120bpm): www.dropbox.com/s/i6oqcyrdruc41ur/RudimentalRitualOstinato120bpm.mp3?dl=0. The hi-hat is a Zildjian 14-inch K Constantinople.
Michael The Double Drag on line 4 page 1 is played incorrectly, everything else is good
Thanks, Phillip. I'd direct you to my response to David R about the same phrase.
@@MichaelDSwanson You should check out Carlie Wilcockson or Andrew Pratt books this rhythm is in a ton of the pieces. the rhythm is Swung, or almost should sound like a backwards swing pattern. I think if you saw it in 6/8 it would make more sense to you. Take the second ruff/drag out of Line 4 and then Line 4 and 5 should sound almost exactly alike. the only difference is that you do not play on "trip" on 1- trip- let.
If you triples 1-trip-let 2-trip-let 3 trip-let 4 trip- let. it will make sense Otherwise it is wrong. If you now who Philliy Joe Jones is he played that figure a ton with miles and a lot on the other recording sessions he was on.
This is the reason drum machines DO NOT swing. I told my student that pointed this out me that this was a machine playing, NOT a person. I can send you video of how it should sound if you are interested. BTW I teach the ritual to select students on the University level.
BTW Philly Joe Jones recorded with Miles Davis 1955-1961 before Tony Williams stepped. in 1964 who studied with Alan Dawson
Thanks for the additional detail, Phillip. When I put together this project, I wasn't absolutely sure about some of the phrases, so I compared them against the original Alan Dawson recordings that are included on the audio CD. I was able to pull up the comparison for the double drag from track #5. Here's a screenshot from Adobe Audition showing the audio waveforms...Alan Dawson playing on the top and this 100bpm Sibelius track on the bottom. Accounting for slight bpm differences, these look pretty close to me. Would you expect the differences you're describing above to be more fine-grained than this? www.mikeswanson.com/files/Alan%20Dawson%20and%20Sibelius%20Double%20Drag%20Comparison%20on%202022-04-04.png
Really nice, but bar 13 is incorrect, here it sounds like a figure of quarter and two eight notes and not really like quarter-note triplet as it should. For the rest, flawless!
Thanks for the comment, David, but I do think it's correct. I've found Sibelius (the software I used for notation and playback) to be much better with timing than I am. It "decided" how to play that phrase based on the notation that you see...there is no way to override it, so to speak.
Notice the dotted quarter note, then eighth, then quarter. If you thought of that phrase as a sextuplet, the dotted quarter would be three of those beats, the eighth would be one, and the quarter would be two (for a total of six). The eighth note is played on beat four of the sextuplet...half-way through the phrase. That means that the beat would also happen to align with the second quarter note beat of the measure.
@@MichaelDSwanson you're right, I might have been doing it wrong, thanks
@@backbeat1449 I certainly appreciate the extra scrutiny...I want it to be accurate. Thank you again, and enjoy!
can anyone explain how does the double drag rhythm work? i dunno how to count that
FWIW, that's how the Sibelius app performs that drag. Some have said that it should be more like a drag, and others have said that it should be more straight.
I’ve been told that Alan said that the drags should be played closed as well as open. Orchestral and jazz differences.
If you count 1/8 note triplets, the dotted quarter gets the first three counts, the 1/8 triplet gets one count, and the 1/4 gets two counts. Hope that helps.
What’s the the 2 fucking thumbs down!!!!!