FLAM

The ‘Flam’ is widely considered as the most basic form of embellishment in the rudimental language.  Interpretations of the flam vary greatly in different musical situations, but in American rudimental drumming, the grace note of the flam should be played with a wide enough spacing from the primary note so the listener can distinguish the two, but not so far that a distinctive rhythm is being played.  The grace note of the flam should always be played as a low tap, unless otherwise specified.

Written as an ‘Acciaccatura’ above or below the line to signify which hand the grace not will be played on.  The main beat being notated as normal and without accent.  The flam is used in british drumming to embelish a note, giving a fuller sound and should be played close enough to the object note so that it does not sound like an anacrusis. Used quite heavily in marching drum solos and drum statics where the solo part is written.

Kein Text vorhanden.

In the Swiss rudimental classification system, the Flam is assigned to the “Major Rudiment Family”. Throughout the whole acceleration from 30 quarters per minute until 120, all major strokes are played equally forte without accents. Especially in low tempo, the literature suggests to stop the beats under full control to be ready for the appoggiatura of the following flams. These appoggiaturas are essential and resulting in multiple difficulties: there is only one perfect timing that has to be met and all appoggiaturas should be played equally early before the major stroke. Often Flams are played too wide or too tight. However, appoggiaturas are all played equally piano.

The beginning structure is not seen in Swiss literature at all and Flams are always noted with a thin, vertical line originating from the note head.

In Swiss drumming, the Flam appears in many different note values. In more traditional marches, the value does not undercut eighth rhythm. In modern high-end compositions, however, flams are often composed in a sixteenth rhythm.

Le Fla ou Coup double, se compose d’un petit coup d’une main, proche de la peau du tambour,  et d’un coup fort de l’autre, éloigné, tous les deux très rapprochés. Les coups doivent être donné en même temps, le décalage des mains créant le décalage des coups. Le Fla main droite se compose du petit coup main gauche, et du coup fort main droite, et inversement pour le Fla main gauche. L’inversion des mains doit être très rapide, formanat un mouvement d’essui-glace.

Ce coup sert de base à énormément de rudiment français. Un enchaînement de Fla peut s’accélérer jusqu’à atteindre un semblant de roulement.

L’appelation Coup double tombe en désuétude et a été remplacé, après les années 1950, par son onomatopée Fla.