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Percussion Rolls

Brett Jones | March 2009


    Although wind players can sustain a pitch until they run out of air and string players can sustain indefinitely, the sound of percussion instruments begins to decay immediately after the attack. Some ring longer than others, but none can sustain. To create the illusion of sustain, percussionists play rolls.
    A roll should start with an attack – a note played slightly louder than the following notes. If there is no difference in volume between the first and subsequent notes in a roll, it will sound like a quick series of attacks rather than sustain. Rolls should also be played on the most resonant spot of the instrument and at a speed that keeps the feeling of sustain going without being so fast that they choke the sound of the instrument.
    In traditional rudimental style, which has its roots in the marching tradition, the double-stroke roll is used most often. The double-stroke roll can be played one of two ways: either by allowing the tip of the stick to bounce on the drumhead one time after the attack or by controlling each of the two hits of the double stroke. The sticking is the same, but there is no bouncing when each hit is controlled. This takes longer to master at a fast speed but creates an even-sounding roll. A double-stroke roll is based on an alternating 16th-note subdivision that creates 32nd notes when each hand’s stroke is doubled.
    The multiple-bounce roll is best suited for concert band or orchestra. It is played by letting the tip of the stick to bounce on the head at least three times. The best way to make a multiple-bounce roll sound good is to produce a uniform volume of bounces. This is best accomplished if players use the forearm more than the wrist to create the initial stick movement. This will lighten the initial impact of each stick on the head during the roll. The multiple-bounce roll does not have to be metered like the double-stroke roll but should simply fill in the sound evenly, regardless of the tempo. A greater intensity level can be produced by playing a faster subdivision, such as quintuplets, and a more relaxed feel comes from playing a slower subdivision, such as triplets. Students should be careful not to press the tip of the stick into the head too much while playing multiple-bounce rolls, or they may cut off as much sound as they create.
    Single stroke rolls consist of the stick of each hand hitting the head of the drum in a rapid alternating fashion. No bounces or double strokes are used; the player simply alternates strokes as fast as possible.
    Either the double-stroke or multiple-bounce rolls can be used for playing field drum and tenor drum. Because both these instruments come from a military tradition, it is more common to use a double-stroke roll.
    Any type of roll can be used on concert toms. Single-stroke rolls are used in most instances, especially with lower-pitched concert toms because the length of ring does not require as fast of a roll speed.
    Although the bass drum is usually hit just off the center of the head, the most resonant spot is approximately one third of the way from the edge to the center of the head, and this is where rolls should be played. Use two mallets – one at twelve o’clock and one at six o’clock. The roll should be an extremely slow single-stroke roll, begun with a slight accent. Some players prefer to use the traditional grip to play bass drum rolls.
    Timpani rolls are similar to bass drum rolls. A single-stroke roll is used, the speed of which wil be slower on the lower-pitched drums than the higher-pitched drums. The mallets should strike the drum approximately two to four inches from the edge. The smaller the drum, the closer to the edge one should strike, but the timpanist should always adjust the striking area to reflect the most resonant sound. The mallet heads should be three to six inches apart to achieve a full sound.
    Double- and single-stroke rolls are commonly played on timbales. The best sound can be produced by hitting approximately one third of the way from the edge to the center. Multiple-bounce rolls can be used to produce a different sound.
    Because congas are most commonly played with the hands, rolls are typically executed with all four fingers of each hand hitting the drumhead in a single-stroke style. The fingers should be held together, and the entire length of the fingers should strike the head. The fingers should strike the drumhead and come off immediately to create a ringing rather than muffled sound. Single-stroke rolls can also be played with mallets or sticks to add volume.
    Similar to the congas, bongos are traditionally played with the hands. The index and middle fingers are generally used to hit the head one or two inches from the edge closest to the player. If bongos are played with sticks, any type of roll can be used.
    Use single-stroke rolls on the marimba. Both mallets should strike as close to the center of the bar as possible, but if players have to move quickly between notes one mallet can hit in the center of the bar and the other can hit the edge of the bar. Because of the length of the ring of marimba bars, rolls can be a little slower than one might expect. Listen to and adjust the roll speed so that the bars maintain a ringing quality. Rolling too fast can result in the sound being cut off by a new attack. The lower-pitched bars require a slower roll speed than the bars in the upper range of the instrument.
    Rolling on the xylophone is similar to rolling on the marimba. However, because xylophone bars do not ring as long as those of the marimba, the speed of the roll must be faster.
    Because the vibraphone can sustain for so much longer than the marimba or xylophone, rolls on this instrument are rare. However, when rolls are called for, the same approach as with the marimba should be used. Because of the length of ring, one should be very careful not to roll too fast.
    Glockenspiel and crotales have a good sustaining quality, so rolls are rare. Because of the hardness of the mallets used to play these instruments, it will take a fairly fast roll speed.
When playing steel pans, single-stroke rolls are preferred, and the higher the note, the faster the roll will have to be. Because each set of steel pans is hand made, a note on one instrument might ring longer than the same note on another.
    To roll on a suspended cymbal, place the mallets at three and nine o’clock one to two inches from the edge of the cymbal and use a slow single-stroke roll. The speed of the hand-to-hand motion should be adjusted to get the most resonance and sustain.
    Most suspended cymbal rolls are written to crescendo to a climactic forte. Because the suspended cymbal has a bright, overbearing sound, a crescendo should be slight until the end of the roll. The increased roll speed and accompanying sudden volume increase at the end of the roll will produce an exciting effect while not interfering much with the notes the ensemble is playing.
    Tam tams are unusual because the sound swells dynamically after the attack. Rolls can be played with a pair of mallets by slowly alternating single strokes to keep the vibrations going. The mallets should be placed opposite each other at three and nine o’clock roughly halfway between the edge and center of the tam tam. It is also possible to produce a good tam tam roll with just one beater.
    Triangles are generally suspended from a clip with the closed corner of the triangle facing the player’s dominant hand. A triangle roll is created by a back-and-forth motion between the bottom bar and the one facing the dominant hand. Some triangle players will roll between the top two bars. Although this can work well, the hand holding the triangle clip may impede the motion of the beater. If the triangle is suspended from a music stand, rolls can be played as described above or as a single-stroke roll with a beater in each hand.
    The most common type of tambourine roll is called the shake roll. Although tambourines are normally played at an angle slightly less than 45°, during rolls the instrument should be held vertically so the jingles can ring freely. Almost every roll should start with an attack. Immediately after striking the tambourine, the player should shake the tambourine with a rotation of the wrist – similar to turning a doorknob – while keeping the tambourine vertical. The tambourine will ring more freely if the wrist is relaxed. The shake roll almost always concludes with a light tap from the fingers of the hand not holding the tambourine.
    Another tambourine roll is called the thumb roll, which can also be referred to as a friction roll. This roll is produced by rubbing the thumb or a finger on the head around the circumference of the tambourine. Many percussionists will apply a light film of tambourine wax approximately one inch wide around the top of the head; this helps the thumb gain traction on the head to produce the vibrating sound. To start the roll, give a slight attack with the thumb; the thumb roll should also end with a light tap. At the end of the roll most percussionists either bring their middle finger up to tap the head or hit it with the heel of the hand. Be careful not to let the roll die completely before the end tap. Players who use a finger to roll instead of the thumb can lift the finger from the head while it is still vibrating and reattack the head with the same finger.
    Rolls on the maracas can be produced either by shaking or swirling them. Shake rolls are best played by holding the maracas in a vertical position. To get a clear attack, start with the beads resting on the lower back side of the maraca, then start the roll with a forward motion.
    The swirl roll can be played holding the maraca upright or by holding it upside down, similar to the way a chef holds a whisk. The beads should swish in a circle around the wall of the instrument. An implied attack can be produced simply by starting the motion with added velocity.
    On machine castanets (two pairs of castanets mounted on a stand) it is best to simply alternate hands similar to a single-stroke roll. For handle castanets, hold one in each hand and play a single-stroke roll with the castanets hitting the leg or the knee. If the castanets are loose enough on the handle it is also possible to get a double-stroke sound with each hand. Rest the index finger lightly on the top of the upper spoon of each castanet. This will produce a rebound, but this only works if the tension of each handle castanet is just right.
    Usually such non-pitched instruments as woodblocks and temple blocks are rolled on with single strokes. If there is a good rebound off the instrument or it is played with sticks, double-stroke or multiple-bounce rolls can also be used.
    Rolls will sound best if percussionists know the correct rolling techniques for each instrument. Students should practice shaping rolls to sound like sustained notes, complete with an attack, sustain, and decay.