This is an entry to a unique niche in the field of rudiments: Swiss Rudimental Drumming and its connection to the French drumming tradition can be looked at as the initial spark for a whole genre of drumming and the phrases we refer to as “rudiments”. It will both clarify ever-present questions like the spacing of strokes (on drag rudiments e.g.) and also add further and deeper understanding with regards to questions of authentic interpretation at the same time. We will discuss historic aspects, grip, and technique, dive into the details of the patterns, make you aware of challenges, help you structure your learning process, and guide you through the minefield of misconceptions.
This is the first time ever you can learn about Swiss Drumming and its specialties in an international format/online course. In case you want to taste the “primeval soup” of drumming and understand rudiments and their original European roots you will not want to miss this opportunity!
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This chapter elaborates on historic aspects, the instruments used, technique and grip, characteristic patterns and some condensed framework for Swiss Rudimental Drumming. Get a first understanding of what makes this genre of drumming special!
This chapter is all about learning the ingredients for a first traditional Swiss drumming piece: The “Morgenstreich”. We will approach things more from the musical side and teach you the patterns and rudiments of this tune being the opening march for the “Basel Fasnacht”. The Flammed 5-Stroke Roll, the Doublé, the Bataflafla (or Pataflafla) and the Final of 7 are some typical elements we will study and finally connect to the “Morgenstreich”!
In order to understand other Swiss/Basel Drumming pieces, there is a wealth of more rudiments and connected typical phrasing making Basel Drumming a lot different from other schools of rudimental drumming. This chapter takes us through a first selection of these: We will take a close look at the structures of the patterns, possibly challenges to be expected, and look into aspects of phrasing and interpretation. The Flammed Triplet, Flammed 3-Stroke Roll, Reversed Final of 7, Rigodon and more variations of the Final of 7 will be covered here.
This is a follow up to chapter 3 further completing the list of patterns that may be new to you. The idea is to go through a basic list of patterns including their phrasing and “rhythmic environment” and then later be able to apply those in a musical setting of a Basel Drumming March for instance. In this chapter we will cover the Reversed Rigodon, the slurred 9-Stroke Roll, the Reveille stroke (or “Tagwacht”) and its variations as well as the Maermeli-Stroke.
Here we are adding more typical Basel drumming rudiments to finalize the list of patterns. You will notice a wealth of new and previously unheard rudiments and the ever-present typical “Basel Swing” making this kind of drumming so special. Also your perception of flam-based patterns will receive an update: Both the Swiss and French Charge Strokes (or “Coup de Charge”) will for sure turn your head around and make you think different. Patterns in this chapter also include more Reveille Stroke variations.
In this chapter we’ll be introducing a “Syncopation” based system (relating to strategies of the classic Ted Reed book and Claus Hessler’s DVD “Drumming Kairos”) to make you practice and apply Basel Drumming rudiments. With this being a pretty unique and definitely “non-classic” method to teach you Swiss Rudimental Drumming we are for sure entering new ground – expect some real game-changing exercises. We are covering some frequently used rudiments like the slurred 5-Stroke Roll, the Doublé, the Flammed Triplet and the slurred 9-Stroke Roll and embed them into a syncopation-like context. This way we are preparing you for quite a number of realistic requirements and passages in a Basel drumming composition.
Here it is all about combining a selection of the patterns learned so far to another classic Basel drumming composition: The “Arabi”. We will go through the different verses, isolate certain passages, make you aware of challenges to be expected and get you ready to perform the piece.
In Basel drumming you will notice quite a bunch of “common thread” when comparing different compositions: There seem to be a number of “standard combinations” appearing throughout a variety of marches. This chapter is all about teaching you representative selections of these. Mastering those will create key skills to understand a majority of the more traditional Basel Drumming compositions. We will introduce basic “shapes” (a standard, never changing short combination of two or three elements) and then add a number of matching, frequently used additions to form the complete exercises. This way we are introducing a system of building blocks that will complete your understanding of the topic.