Topic: Press roll/fills?  (Read 969 times)

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Offline Michael Beechey

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Press roll/fills?
« on: October 12, 2009, 01:19 PM »
I guess it would be safe to say that the key to nice press rolls seems to be relaxed approach...sounds like floating.......unless another effect is desired...ala Elvin...

However, when you use a press roll as a fill...ala Jeff H/Peter E...how do you ensure you arrive at the end when you choose...ie..do you peg the roll to 1/16ths, etc without pulsing it?...sometimes the tempo seems awkward, slow, etc.. for pegging it to any specific subdivision note, but I have trouble "floating" the roll and come back in time for the 1 or whatever...this might for example include the effect given by accelerando the strokes during the roll without speeding up and messing up the metre...  This issue would apply to all press rolls I guess, fills or not...I can't remember far enough back to my orchestral days.....Ideas?...not sure if that's expressed clearly....

thanks in advance!
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Offline Jon E

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Re: Press roll/fills?
« Reply #1 on: October 12, 2009, 01:44 PM »
I will assume that by a relaxed Press Roll you are referring to what *I* call a "concert" or "orchestral" or "multiple bounce" roll.  Not a rudimental (double stroke) roll.

Much of the stickings/hands for these rolls will depend onthe tempo, dynamics, etc.  The exact same tempo passage may need to played/stroked differently depending on dynamics.

The concert roll is really about filling the space with the roll sound.  Your hands may not not want/need to play a true metronomic pattern to do so.  This sort of runs into the whole hand-foot Independence thing.  Rub your tummy and pat your head--at a different tempo no less.

I hate to say the answer is practice, practice, practice,.....   but it is.  Different tempos, dynamics, etc.

PS:  I consider a Press Roll to be one where the sticks driven/dug into the head in short, hard multiple strokes.


Offline Bart Elliott

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Re: Press roll/fills?
« Reply #2 on: October 12, 2009, 07:53 PM »
When playing multiple bounce, buzz or press rolls, the speed of the strokes (per hand) varies depending on the tempo of the music. The goal with these rolls is to get a continuous, smooth grouping of sound; no breaks or pulses.

Since it doesn't matter what type of stroke grouping your using, odd or even, it's customary to speed up the roll at the end so that the desired hand lands on the downbeat. For example, let's say you were playing a buzz roll for one beat using quintuplet strokes (RLRLR) on beat 4 in Common Time. If you wanted to release the roll on the downbeat of the next measure, striking the Floor Tom that is to your right, it's not going to work out too well if you lead with the right hand in this quintuplet pulsed buzz roll. So, you can either lead with the left hand ... OR ... speed up slightly at the end so your right hand can land on the cymbal.

I should really take more time to explain this as the above paragraph isn't very clear.  :-\  Let me try again.

Multiple bounce rolls aren't phrased or pulsed with particular stickings like rudimental rolls like the double stroke roll. The speed of your strokes doesn't matter; only the completed sound that you get in your roll. This means that you may have to alter your strokes slightly to end correctly; slowing down or speeding up slightly. Make sense?

Offline Todd Knapp

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Re: Press roll/fills?
« Reply #3 on: October 13, 2009, 01:52 PM »
While I do use the technique Bart is talking about - i.e speeding up to get myself out on the correct hand, I also subdivide my rolls depending on the the tempo range and piece to ensure that I come out on the desired hand as much as possible.

Offline David Newman

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Re: Press roll/fills?
« Reply #4 on: October 18, 2009, 05:56 PM »
I do pulse the strokes, makes it nice and easy to come in right on time. I pulse from the shoulder, leaving my elbows and wrists nice and loose so that the sound of the roll remains smooth.

 

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