Drummers Service
By John R. Dowlan
DCN Aug. 8, 1962

LET'S TALK RUDIMENTS: AMERICAN, SWISS...
WHAT'S NEXT?

First of all, I would like it clearly understood from the beginning, that the purpose of this article is NOT intended as slander against or to degrade the "Swiss Rudiments" in any manner, as I am certain they do have their place in the percussion world, but rather, the Swiss Rudiments MUST NOT be used as a primary basis for credit scoring in the repertoire captions of our drumming score sheets, and; MUST NOT be given prime consideration over and above "our own" Standard American Twenty-Six Rudiments in the determining of drum scores.

In recent months, there has been mounting considerable confusion and frequent discussions which have resulted in controversy among modern drum corps drummers regarding the influx of foreign rudiments to the scene of the American Style of Drumming, namely . . . The Swiss Rudiments. These rudiments are by no means new. However, it appears that a recent intensified drive has been initiated to promote and incorporate these "imports" as a part of our way of percussion. Okay, I know a few of them, but what happens to the drummer who doesn't? What is his reference and where does he turn? But for that matter, should he really be interested? Let's see!

This is the irony of the entire situation. To my amazement, and dislike I might add, it has been brought to my attention by an authoritative source that new drumming score sheets are now being planned and prepared, which will embody a credit caption specifically dedicated for the inclusion of the Swiss Rudiments. This, I feel, is getting carried away, so hold tight drummers . . . we're off!

Not too long ago, a top-rated drum section in the East competed at a "Class "A" Senior contest. This particular drum line had been obtaining very high scores in repertoire consistently (about 10 years, in fact), when, out of a clear, blue sky, they were penalized very severely in this caption. Their execution job was typically of the highest calibre and the field drum sheet proved it; and therefore, this would present no serious consequence or reflection in repertoire . . . but what could have happened? Naturally, I was quite concerned about this, as I had definite interests in the drum section involved, and so I approached the judge following the contest. His remark was simply, "Your repertoire score was low because you did not attempt or play any Swiss Rudiments". We chatted, which I believe was sensible, even under these present circumstances, and soon I realized the "panic button" had been pushed . . . or at least, by this judge, anyway. But my chief concern was how many others were also thinking along the same lines? He told me to re-arrange my drum parts and incorporate these Swiss Rudiments if I wanted to attain higher repertoire scores; or the next time the corps competed in that area, the same condition would result. What a long drive home it was that night, and how I wished I hadn't remained a gentleman. I pondered over the thought that maybe next week, the push might be for French Rudiments and the week after, possibly German Rudiments. (I imagine they must have rudiments, too!) Now, when and where will it stop?

In the majority of cases, most of our Standard American Rudiments are far more difficult to perform and perfect than the Swiss Rudiments, but apparently, we will not receive due credit for this accomplishment on the basis of this new system. I have played some Swiss Rudiments and I can say some sound tricky and unusual - - especially, when played cleanly with flawless execution and in combination with some of our rudiments. I also believe, that when used with discretion and moderation, they can aid in our overall effectiveness, variety and showmanship. But why go overboard and state that our credit build-up captions will be affected by the quantity of these Swiss Rudiments attempted? Why not be sensible about the whole thing? To judge a drum section in this manner is not fair, unless the contest is held in Switzerland.

Here is the way I look at it: In most cases, the average drummer does not have any access to the proper musical notation of these rudiments, nor does he know the number of these rudiments that exist. What particular techniques are involved, and how many judges are qualified to determine a drum section's proficiency, adaptability, authenticity, etc., in the manipulation of the Swiss Rudiments?

So, all of a sudden, it's Swiss.... no warning, no nothing! One day you're tops in drums - next day you travel 100 miles and compete against corps of a lower quality standard and you are low man on the pole. It's ridiculous when you really give it some thought. All of the rehearsal time spent in the practice, study and perfection of our own rudiments does not permit delving into a nationality exploration of percussion oddities. Why kid ourselves, knowing we have only ample time to devote to mastering the "Original Twenty-Six" established by better men than we three decades ago.

In conclusion, ask yourself these questions:
1.) Have we, as drummers, completely explored and applied all conceivable aspects of the Standard American Twenty-Six Rudiments?
2.) Do you honestly feel they leave much to be desired?
3.) Have we exhausted our originality and imaginative resources in applying the hundreds of combinations and variations available?
4.) Should we place more emphasis, importance and consideration, both in playing and scoring, on the Swiss Rudiments than our own?

If your answer to any of these questions is yes.... well, maybe that's why we have vanilla and chocolate ice cream. As far as I am concerned, I feel there is plenty to be done with the Standard American Twenty-Six and they will always fascinate and sound good to me. If you firmly believe we are now in a rut with the progress that has been accomplished over the past ten years, then I honestly believe you are not a real drummer in the true sense of the word . . . and, I do feel sorry for you! Go Swiss? . . . NOT ME . . . but maybe your thoughts are different!