Performing the Double Stroke Roll

Most drummers do learn the Double Stroke Roll, but the modern approach does have some differences from the older style of teaching. In this article, we’ll explore the historic performance of the double stroke roll.

Modern Approach to Double Stroke Rolls

First, let’s talk about the differences in equipment and material. Today’s modern drums are rod-tension – meaning they use screws to tighten down the drumhead. The drumheads themselves are some kind of synthetic material. These two factors together allow modern snare drums to potentially have extreme tension – as if playing on a wood tabletop.

Additionally, modern drumsticks are significantly lighter and less dense than period drum sticks. Depending on the style, the weighting and balance of modern sticks differs, but, on the whole, we can say all modern sticks are “light” comparatively.

Striking a high-tension drumhead with a light drumstick causes the drumstick to rebound – or fly back up off the drumhead – with no work on the drummer’s part.

When performing the Double Stroke Roll, or other fast movements, the modern drummer will utilize that rebound. He or she only has to throw the stick back down to create the second stroke.

This technique allows the drummer to perform faster, tighter rolls with good control, but does produce uneven sounding rolls when played more open because the second stroke is a rebound stroke and not a full stroke.

Historic Approach to Double Stroke Rolls

Material-wise, historic drums did not have the same high-level of tension or high-control over tensioning their drums. The natural rope on a rope tension drum will naturally stretch and contract with time, tension, and weather. Additionally, the leather ears or buff ties cannot create or maintain the same high-level of tension that a screw can.

As for the animal hide drumheads – if made properly, they can have and hold a fair amount of tension, but you will never be able to compete with a modern synthetic head on a rod-tension drum.

Additionally, historic sticks were made of heavier, denser wood. These sticks can easily be two to four times heavier than modern sticks and their weight often surprises modern drummers the first time they hold a pair.

(Note: Cooperman sticks, while heavier than modern sticks, are still much lighter than a good pair of rosewood sticks. In my experience, even their rosewood sticks tend to be on the light end.)

The lower tension and heavier weight of the sticks has the opposite response.

When a drummer strikes a calfskin head with heavy sticks, the stick will rebound slightly, but on the whole its momentum will die almost immediately. This means that the drummer must manually lift the stick to the desired height and manually strike the drum again.

This technique forces the drummer to utilize greater control over the sticks and to manually perform most of the work to perform the Double Stroke Roll.

For this reason, we see 19^th century drum tutors explain the approach to developing the Long Roll differently (or more strictly) than a modern approach.

Performing the Double Stroke Roll

First, stand with good drumming posture:

• Stand perfectly upright, like the easy attitude of the soldier, avoiding muscular tension.
• The right heel is placed in the hollow of the left foot.
• The body should incline slightly forward.
• Elbows close to the body, but not touching it.
• Shoulders square to the front.
• Head and eyes front with chin drawn in.

Second, bring your sticks to the First Position:

Raise the sticks in an arching motion so that:

Image from The Army Drum and Fife Book. Edited by Keach, Burrdit, and Cassidy.

Note: You will see a lot of modern Fife and Drum Corps (like The Old Guard, Colonial Williamsburg, etc.) perform their long roll by bringing the sticks up, but they will over-extend the arms so that the tips of their sticks point straight up. No period manual indicates anything like this. They are all consistent with the image from Keach, Burditt, & Cassidy. The difference may stem from the fact they use a modern right-hand grip, rather than a more authentic right-hand grip.

Third, strike the drum:

• Use the whole forearm. Think of holding a baton in the middle and twisting the forearm to make it twirl in a circle.
• The arms must move with the greatest ease, utilizing the shoulders and wrists.
• The elbows and wrists should move in good form and the elbows should not touch the sides.
• Never use the fingers to play.

• Strike the drum as close to the centre of the head as possible, though not in the dead center. The sticks should hit within a 2-inch circle around the center.

• Perform all beats with all possible firmness, unless otherwise indicated.

Additional Notes: Hart cautions against using the forearms or movement from the elbows, except for making heavy strokes, and instead insists on playing only from the wrists. Hart is also one of the only drummers in the mid-19^th century to advocate the newer right-hand grip, which is probably influencing this comment. By 1918, Gardner also advocated playing only from the wrists, except for loud notes.

Fourth, return the stick to First Position:

• Drop the stick from First Position, strike the drum, and immediately lift the stick back to First Position.
• Then repeat on the same hand.
• Drop the opposite stick from First Position, strike the drum, and immediately lift the stick back to First Position.
• Then repeat on the same hand.

Gradually, beat the strokes faster, keeping the strokes even and steady. As the roll gets faster, lower the height of the sticks, while keeping them as far as possible from the drum head between each stroke, until the roll is closed. In a closed roll, the sticks should be about 4-5 inches off the drum head. Play through by lifting from the forearms, not using the elbows or the wrists.

The strokes should be two equally heavy strokes. Some manuals, recommend playing a light and then heavy stroke. In either case, the purpose is the same: ensure that the second stroke is not lighter, or that it is not played on the rebound or with the fingers.

At any point that a mistake is made, stop immediately and begin again. Be careful not to be impatient; speeding up too fast risks developing bad habits and straining to play a full roll.

For Americans and occasionally the British, the beats on the left hand are called Da-da and on the right Ma-ma. In the older British manner, the left are called Tow-Tow, the right Pow-Pow. In the French, the left are called Ta-Ta, the right Pa-Pa.

To read more from the sources, see:

• Robbins 7-8
• Potter 2-6
• Rumrille 3
• Klinehanse 4
• Ditson 11-13
• Howe 4
• B&E 4-5
• Hart 3-6
• Nevins 3
• Strube 7
• Gardner 14-6
• Instructions des Tambour

This is, to the best of available resources, how drum instructors in the mid-19^th century and earlier taught the Double Stroke Roll and thought about performing it.

Do you have any questions or observations about performing Double Stroke Rolls in an historic manner? Contact me or comment below.

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To get a better sense of the history of the Double Stroke Roll, or Long Roll, take a look at my research:

• When Did Drummers Start Rolling?
• Understanding Roll Rhythms
• The Ruffle

If you’d like to learn some of my tips and suggestions for learning and practicing this method, check out:

• Double Stroke Roll Practice Guide
• Authentic Right-Hand Grip