04: Multiple Bounce Roll
- 01: Single Stroke Roll
- 02: Single Stroke Four
- 03: Single Stroke Seven
- 04: Multiple Bounce Roll
- 05: Triple Stroke Roll
- 06: Double Stroke (Open) Roll
- 07: Five Stroke Roll
- 07: Five Stroke Roll (Triple)
- 08: Six Stroke Roll
- 09: Seven Stroke Roll
- 09: Seven Stroke Roll (Triple)
- 10: Nine Stroke Roll
- 11: Ten Stroke Roll
- 12: Eleven Stroke Roll
- 13: Thirteen Stroke Roll
- 14: Fifteen Stroke Roll
- 15: Seventeen Stroke Roll
- 16: Single Paradiddle
- 17: Double Paradiddle
- 18: Triple Paradiddle
- 19: Paradiddle-diddle
- 20: Flam
- 21: Flam Accent
- 22: Flam Tap
- 23: Flamacue
- 24: Flam Paradiddle
- 25: Flammed Mill
- 26: Flam Paradiddle-diddle
- 27: Patafla-fla
- 28: Swiss Army Triplet
- 29: Inverted Flam Tap
- 30: Flam Drag
- 31: Drag
- 32: Single Drag Tap (Traditional Intrepretation)
- 32: Single Drag Tap (Triplet)
- 33: Double Drag Tap
- 34: Lesson 25
- 35: Single Dragadiddle
- 36: Drag Paradiddle #1
- 37: Drag Paradiddle #2
- 38: Single Ratamacue
- 39: Double Ratamacue
- 40: Triple Ratamacue
- Introduction
04: Multiple Bounce Roll

Rudiment Breakdown (Slow-Fast-Slow)
Take a Lesson from Dr. John Wooton
Rudiment Application Exercises
* NOTE FROM MARK WESSELS (author of exercises, performing playalong files):In order to play the multiple bounce roll with a high quality of sound, speed is not a determining factor. Each of the following exercises is written within a tempo marking that is appropriate to produce the best quality of sound for a buzz roll (for most applications).
As you work through each exercise, you’ll notice that the “sweet spot” for hand speed is roughly in the middle of the tempo range. However, practicing throughout the range of tempi will give you the ability to produce the best sounding roll in a variety of situations. Drum size, musical style, head type, head tension, dynamic level, stick selection and performance space will all be determining factors in which roll subdivision will sound best!
RECOMMENDED APPROACH FOR BEGINNING/INTERMEDIATE PLAYERS:
The application of this rudiment is different from all the others in that you’re not starting slow and gradually working on faster speeds. Instead, start by learning to play the 16th based roll subdivision in a medium tempo (exercise #4), then go back to #1 (which is essentially the same duple subdivision, but half the speed). Next, work on the triplet subdivisions (#2 and #5).
The most difficult subdivision to master is the Quintuplet in exercise #3. This subdivision is not commonly found in band or orchestra music, but will produce the best sounding rolls because of the lack of “lead hand” pulsations! You may also wish to experiment with Septuplet subdivisions for slow tempos (overlapping exercise #1 and #2: m.m.=60–85). As always, use your ears to determine the best hand speed for your multiple bounce rolls.Good Luck! – m.w.










- Multiple Bounce Roll Application: m.m.=50-75 00:00
- Multiple Bounce Roll Application: m.m.=70-100 00:00
- Multiple Bounce Roll Application: m.m.=80-110 00:00
- Multiple Bounce Roll Application: m.m.=110-150 00:00
- Multiple Bounce Roll Application: m.m.=140-190 00:00