Do these rudimental exercises have a name?

[Matthijs Ament]

There are 2 rudimental exercises I've known for years that I cannot 'name' or label. They're not in the 40 Rudiments list from PAS or VF but they are very common.

The first one is grouped ; rlrlrlrl rrllrrll and is played as a seamless roll.

The second one is [R & L for accent] a figure of six : R l l r r L

Thoughts anyone

[Tombo 7/4]

Those are the single, double and 6 stroke rolls.
I'm pretty sure they're on PAS list...
(#1,6,8)

[matthughen]

The second is a 6stroke roll.
The first is likely not a specific rudiment but more of a warm-up. If you would like to make it a rudiment, it could be a accurately called quadruple parradiddle-diddle-diddle-diddle. Its funny but true!

... or as Tombo pointed out it could also be the execution of #1 then #6 etc ...

[Clint Hopkins]

Gary Chaffee calls the r l r l r r l l sticking, 8D so he might call r l r l r l r l r r l l r r l l, 16H.

[matthughen]

Gary Chaffee calls the r l r l r r l l sticking, 8D...

Most would call that a double paradiddle-diddle. Chaffee IS a great educator though.

[Matthijs Ament]

Thanks Guys!

@ Tombo, the exercise is of course a combination of single stroke and double stroke. But this specific figure is a string of sixteen 32-end notes. So it covers 2 counts. I thought it might have name. But reason has it that you should call it : paraparaparaparadiddlediddlediddlediddle .... PA-RA means R-L, DIDDLE means 'double".....right?

The second one is some kind of six stroke roll to me, but not according to PAS. They call : sixth.-32-32-32-32-sixth. 'the' six stroke roll. The exercise I refer to is either written as an endless string of triplets or sixtuplets.

[Gaddabout]

The first one is grouped ; rlrlrlrl rrllrrll and is played as a seamless roll.

The second one is [R & L for accent] a figure of six : R l l r r L

The first one is a very common double-stroke exercise. The first part is a "skeleton" to metrically measure the double strokes. Singles = sixteenths, doubles = 32nds. Some exercises will have you play a bar of sixteenths, a bar of double-stroke sixteenths, another bar of single-stroke sixteenths, then a bar of 32nd-note doubles. It's all about stick control and learning how to be fluid. No accents. In fact, part of the point of the exercise is to spot pulsing in your rolls (i.e. RRll RRll RRll RRll), which is cause for justifiable homicide in DCI. I'm not really kidding about that last part. Singles and doubles should sound seamless (even though a trained ear can hear the nuances from even a pro).

The second one CAN be a six-stroke roll or it CAN be a paradiddle-diddle. Depends if there's any space in the notes. If you have a six-stroke roll with the taps on the 1 and 'uh' of a sixteenth note and the doubles in the middle, in drum corps they will put a lot of emphasis on make sure there's a "breath" between that first tap and the first double stroke. This is to prevent slurring and turning your tape rolls into sextuplets (which is what turns a clean snare line into a dirty snare line). As a paradiddle-diddle, accent however you like, but you should probably first learn it without accents. The reason I mention this is, on a concert (as opposed to field) snare drum, unaccented paraddidle-diddles is a great way to sound like Buddy Rich. LOL It's also probably the coolest and easiest rudiment to get around the kit. Turn them into 32nd notes and you can easily break up into phrases that sound like so much more than they really are, especially when mixing in with paradiddles ... creates interesting phrasings spread over a mix of 1 and 1.5 eighth notes.

[matthughen]

PA-RA means R-L, DIDDLE means 'double".....right?

DIDDLE definitely means 'double,' but PARA can be R-L or L-R. If you ask a left handed drummer to play a one, single paradiddle, he might play L-R for the PARA part . . . and he would be just as correct.

[R & L for accent] a figure of six : R l l r r L

The second one CAN be a six-stroke roll or it CAN be a paradiddle-diddle. Depends if there's any space in the notes.

If its a paradiddle-diddle, as written, it would be a left hand lead paradiddle-diddle.
Note spacing issues aside, Left hand lead paradiddle-diddle = right hand lead 6 stroke rolls. Conversely, right hand lead paradiddle-diddle = left hand lead 6strokes
Given that accents are specified, it would likely make the intention 6stroke rolls - very slurred, and very cool. For you ole school rudimental cats, it would be very Bridgeman-like.

[circh bustom]

In a Modern Drummer issue from a few years back, possibly the one with the last Vinnie cover story, there was a lesson that mentioned "RllrrL" as a six-stroke roll, only phrased the way jazz drummers might phrase it. I think the article also mentioned an eight-stroke roll RLrrllrr, also the way a jazz drummer might phrase it. Neither had any specific name, just a different starting/accent point. I just took it as similar to a piano. A c E is an Am triad same as c E A would be.

[Matthijs Ament]

Thanks again for all the input! Much appreciated!

The whole thing is about translation really. In Europe, or Holland at least, I've come across some slightly different terms or even regular wrong naming.
I'll give some examples.

Break - for Fill
Afterbeat - for Backbeat [Downbeat is just not a common term]
Afterbeat - for Off Beat
Cup - for Bell [cymbal]
Rimshot - for Rimclick or Cross Stick
Decrescendo - for Diminuendo

I care for drum tradition and for being accurate in naming stuff the right way. I make my students listen en study Sonny Payne, Max Roach and Art Blakey. But also John Bonham, Ringo Starr and Lars Ulrich, or Steve Jordan, Steve Gadd and Clyde Stubblefield before diving into Vinnie, Weckl, Pridgen, Harrison, Hoenig, Tain Watts and JoJo Mayer. The best part is that most kids like the old skool very much once they start really transcribing and playing. Somehow, a lot of schools and teachers over here seem to 'please' their students, rather then to challenge them.