Top Secret Drumming Techniques: Separating Doubles Strokes
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- Опубліковано 6 лют 2025
- My name is Phil Rosato. I will be demonstrating drumming techniques that I have learned from many great and influential drummers.
I was fortunate enough to have been taught by a Toronto-based drum teacher, Al Bleue, for six and a half years. Al did not only teach me how to play, but he also taught reading and writing drum notation by giving me a prepared lesson that he composed. After the lesson I would take the sheet home and hand write it into a manuscript book of which I still have all of to this day. Al Bleue was the "one stop shop of drum teachers" by covering a wide range of music styles from jazz to rock to latin while showing me the technical aspect of the art of drumming.
My other big influences are Buddy Rich, Gene Krupa, Steve Gadd, Jim Chapin and far too many other greats to mention.
I'm going to share what I have learned from these masters in hope of inspiring you to adopt and interpret these techniques to increase your drumming vocabulary as well as your articulation.
I mean no disrespect but this old guy has possibly the best drum instruction video I've seen here on UA-cam.
Thank you for sharing your thought on this video. It is greatly appreciated.
I totally agree!! Hooray for us “old guys”😊
Shush !!@@ultrablue7477
I've been searching for years how to play this snare-ride mixed pattern and here it is. Thank you so much, God Bless you!
Right back "atcha, thank you!
Very cool! My first drum teacher back in the day told me not to “stir” my rolls, but then Buddy Rich appeared on The Boston Pops and I could very clearly see that _he_ did it, so naturally I had to copy that. The out stroke is something I haven’t played with much, but I’m going to give it another try right now!
Thanks Fred. The technique really does work.
Yes, seen Buddy do this forever. Yet watch where His sticks land...
Mastering two fundamental rudiments to sound so impressive. Technique is so important to be a good drummer. It makes things easier to play and helps with endurance. Great lesson.
I could not have said that better. Thanks Gilbert for your comment. Phil
Very talented drummer
Thanks for sharing your great drumming insights Sir 👏👏👍
Your comment is greatly appreciated, many thanks!
Phil is amazing 🥁🥁🥁🎧
Awesome job! 🎉
Really great, Phil🎉!!
Thank you for your comment Donna!
Great lesson, wonderful example also for my beginner Students, thanks for sharing!
You are most welcome. Grazie for your comment!
Great lesson!
Much appreciated comment. Phil
Excellent video-thank you.🥁
I reciprocate the gratitude for your comment!
Great, never heard about this, except in the context of press rolls. I'm going to practice right now!!
These movements have changed my playing dramatically with less effort and more motion. This stems from amending the Moeller technique and changing the stick travel which allows more versatility and sound change around the kit. Have fun and thank you for your comment.
@@fourwalldrummers I found the inward easier than the outward motion, I think because I've used the inward for press rolls. But you're right, it does make a difference and reduces tension, especially in my left forearm (I play traditional, too). Thanks for your reply and I look forward to checking out some of your other videos.
Motion versus effort is the best terminology that I can use to describe these techniques as you have already experienced in playing press rolls. Anywhere or any time that I play double strokes or diddle rudiments, these principles are applied. Where the tension factor is greatly diminished the power factor is greatly increased. Therefore, "motion versus effort". More videos to come. It's been great corresponding with you!
Very nice good video.🥁😎🥁
Thank you for reaching out with your comment. It is very much appreciated.
🎵🥁🎶@@fourwalldrummers
Thank you, from Detroit.
You're welcome James!
I think the key to super smooth double stroke roll is to actively accent the second strike of each double, regardless of striking technique....when it gets very fast it sounds very even, but may sound a little disjointed played slow. Cheers from sunny Australia.
In this case, Phil is using that concept to create the technique that allows him to separate the double stroke, apply it in a unique way by moving from the snare to the cymbal, and get it up to a very high speed. It's less about doubles technique than about the separation. You can also reverse it and use the instroke to come down from the cymbal on the second right.
It seems to me that even if you accent the second strike it will not solve the problem of one handed double to sound like 16th and a dotted 8th notes. I saw a video when they demonstrate one handed double sounding like a single stroke roll using this stuff. I believe that is the goal...
Holy Mackinaw. Sounds great.
Brilliant! ...It really is a lot like whisking eggs, isn't it 😄
Thanks Lex! I am looking very forward to your next video posts. Wahoo!
Thanks for this
Glad you liked the information and video.
@@fourwalldrummers thanks, I’d seen a Dave Weckle vid on going from thumbs up to palm down for the double, other buddy rich style videos say to do it the other way, now this brings it all together, I’m glad this popped up
@@fourwalldrummersI was wondering what stretches you do for the hands?
I don't do any stretches, but I hope the following answers your question.
I wish I could say what Buddy Rich said when he was asked that question, his response was "I take my hands
out of my pockets". For me I find that a non- hostile warm up works best. I'll play single strokes for a prolonged period of time at different stick heights and volumes at a moderate tempo (16th notes) while staying relaxed. This will involve some arm motion as you raise the sticks higher. You will know if you are relaxed because the drum sound does not change, the volume does but the "ping" of the drum does not.
I also play double strokes as demonstrated in my video very relaxed with in and out stroked motions mixed.
Triplet stickings with in and out stroked motions (video to be posted soon) / RRL RRL RRL RRL / RLL RLL RLL RLL / as well as /RLRRLL RLRRLL/ and /RRR LLL RRR LLL/
Try accented notes where you "feel" them with the above noted stickings when you mix them.
There are to many other exercises to list , but I hope these are useful to you, Thanks Fred. Phil
The other two items that I use and very highly recommend are the Vic Firth 5B Chop- out sticks where you can play on any surface with no damage and the Remo silent stroke snare head for practice and for analyzing your technique (you will require a second snare for this). These are amazing products!
That is some good doing
Many thanks Gerald for your comment. It is wonderful to share information and receive feedback such as yours.
Yep. I've seen Buddy Rich and Ed Shaughnessy both do this and never understood what they were doing. Mystery solved. 😊
Hey Don! Marvellous that the mystery is solved, thank your so much for your comment as it is greatly appreciated. Phil
I’m not seeing any difference between the in and out. What is the difference? Can someone explain? That part of the video goes too quickly
The difference is somewhat subtle. The in-stroke pushes the stick inward so that the second stroke lands centre of the first stroke. Vice-versa for the out-stroke. Push the stick towards the rim so the second stroke lands in that direction. The point is less effort, allowing for more speed, but it also allows you to separate the double-stroke.
🤘😁🥁👍
Thank you very much!
I want to ask which single drum is that at the beginning of the video? Thanks
( Sorry my english, i hope you understand)
Hi. It is a Stanton Moore pandeiro that has a Remo Silent Stroke head on it. Normally, it would have a regular head and be louder.
@@fourwalldrummers thanks.....✌
Interesting idea,@@fourwalldrummers ! You use this for quiet pad work? Any other pads you recommend for being a good roommate? Thanks for the video, right to the point and you described "why" very well.
@@chocolatechipcookiedough Hi Daniel. Thanks for your question and compliment. The reason we started doing these videos is largely because Phil has a great ability to explain drumming and we thought we should share it. Regarding the drum head, quiet is part of the reason, but mostly it is the unique rebound you get. Phil discovered this several years ago. We both have either Remo Silent Stroke or Evans Soundoff heads on spare snare drums that we use for practicing various techniques and patterns. You can see it in a video we did a few years ago where Phil demonstrates the one-handed roll - ua-cam.com/video/JyJW_czufBk/v-deo.html. The other item we use is Vic Firth Chop-Outs. They are a rubber tipped stick that you can use to practice anywhere. Steve Gadd also uses them - ua-cam.com/video/ZdT-ZE3Nbno/v-deo.html --- Paul
Great explanation and display of what Ed Shaughnessy once showed me(!) at a drum camp...introducing me to what was/is called the 'whipped cream' roll.
In the following clip, Buddy Rich spends over 3 minutes focused on the snare drum (beginning at about the 10 minute mark), demonstrating variations of what Phil has dissected in this tutorial:
ua-cam.com/video/8o7HCuK65JM/v-deo.html
And I was thrilled when I actually stumbled upon this clip of Ed Shaughnessy with his demonstration of the 'whipped cream' roll:
ua-cam.com/video/CyL1cPt7_4k/v-deo.html
We are on the same page with these techniques as you saw from the masters, Buddy Rich and Ed Shaughnessy.. Thank you very much for reaching out with your comment. Phil
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