Welcome to my online resource for teaching pipe band drumming.
Here you will find short bitesize video lessons on how to correctly hold your sticks, initial beginner rudiments and practice techniques.
This online lesson platform is not only for beginners but for every level of drummer. As I travel extensively around the world teaching drums I often find very common questions from students. I will address these here in individual lessons so students have the ability to watch them as many times as they wish.
Lessons will be frequently uploaded and if there is a specific rudiment, phrase or topic you would like to see me address then please get in touch at contact@drummingondemand.com
Access all lessons by ten times and current world solo drumming champion, Steven McWhirter.
Over 140 videos already available, more than 7 hours of footage to get you started... and we will keep adding!
| Lesson | Summary | Level | Duration |
|---|---|---|---|
| Right Hand Technique | A detailed breakdown and analysis of how, and why, we hold the right stick how we do. Like any task we set out to do, there is a correct technique, making the task relatively easy, as opposed to an incorrect technique making said task more difficult than it needs to be. | 05:08 | |
| Left Hand Technique | A detailed breakdown and analysis of how, and why, we hold the left stick how we do. Like any task we set out to do, there is a correct technique, making the task relatively easy, as opposed to an incorrect technique making said task more difficult than it needs to be. | 05:24 | |
| Technique Overview | Here we will look at how both of our hands work together in harmony to create an efficient and slick movement. | 04:44 | |
| Tap Sound | The most fundamental sound any drummer can create and execute accurately. | 04:55 | |
| Notation – Above & Below the Line | An explanation of the mono linear system of pipe band drumming notation, created by Dr. Fritz Berger. | 01:51 | |
| Double Strokes – Mummy Daddy | The most fundamental exercise any drummer should be able to excute accurately. | 03:25 | |
| Paradiddle | One of my favourite rudiments as it naturally takes the player from one hand easily onto the other. | 03:26 | |
| Triplet | Our first introduction to irregular groups with this rudiment. Generally speaking, a connecting movement to keep momentum in a drum score but extremely important to master early on. | 02:39 | |
| Single Stroke Development | Single strokes like doubles, are a good means of developing speed, accuracy and flow in our playing. | 02:33 | |
| Flam | A very unique sound using two notes to create one sound. One of the many ways we can add texture and colour to our sound in pipe band drumming. | 06:35 | |
| Elementary Revision Exercise | A rhythmic and fun way to practice your doubles, paradiddles, triplets and flams. | 03:03 | |
| Open Five Stroke Roll | The open five stroke roll consists of two double strokes and one tap. Starting and finishing on the same hand. | 03:41 | |
| Open Seven Stroke Roll | The open seven stroke roll consists of three double strokes and one tap. Starting and finishing on the opposite hands. | 03:20 | |
| Open Nine Stroke Roll | The open nine stroke roll consists of four double strokes and one tap. Starting and finishing on the same hand. | 02:54 | |
| Open Thirteen Stroke Roll | The open thirteen stroke roll consists of six double strokes and one tap. Starting and finishing on the same hand. | 02:55 | |
| Open Twenty Five Stroke Roll | The open twenty five stroke roll consists of twelve double strokes and one tap. Starting and finishing on the same hand. | 05:10 | |
| Buzz Sound | The buzz sound is one of, if not, the most distinctive sounds we as pipe band drummers create. It takes a certain amount of pressure, feel and practice to master a smooth and even buzz sound which will be the foundation of a great closed roll sound. | 05:07 | |
| Continuous Closed Roll | Creating the continuous closed roll is achieved by combining our right and left buzzes in a smooth, even and connected manner. It's the closest we as drummers can get to achieving a legato sound. | 03:22 | |
| Closed Twenty Five Stroke Roll | The closed twenty five stroke roll consists of twelve buzzes and one tap. Starting and finishing on the same hand. | 03:33 | |
| Closed Thirteen Stroke Roll | The closed thirteen stroke roll consists of six buzzes and one tap. Starting and finishing on the same hand. | 01:45 | |
| Closed Nine Stroke Roll | The closed nine stroke roll consists of four buzzes and one tap. Starting and finishing on the same hand. | 01:53 | |
| Closed Seven Stroke Roll | The closed seven stroke roll consists of three buzzes and one tap. Starting and finishing on opposite hands. | 02:06 | |
| Closed Five Stroke Roll | The closed five stroke roll consists of two buzzes and one tap. Starting and finishing on the same hand. | 02:51 | |
| Dot & Cut Paradiddle | Our first introduction to the dot and cut rhythm using the sticking pattern of a paradiddle. This is used in lots of scores later using embellishments to further enhance the dot & cut feel. | 03:49 | |
| Accent | How to successfully achieve an accent without overplaying and losing clarity or flow in your playing. | 05:12 | |
| Accented Paradiddles | Adding an accent to various notes within the paradiddle sequence creating syncopation. | 04:45 | |
| Accented Dot & Cut Paradiddles | Adding an accent to various notes within the dot & cut paradiddle sequence creating syncopation. | 03:48 | |
| Accented Triplets | Adding an accent to various notes within the triplet sequence creating syncopation. | 03:23 | |
| Flam Paradiddles | Adding a flam to various notes within the paradiddle sequence creating syncopation similar to accented paradiddles only with a slightly different colour to the sound. | 05:05 | |
| Flam Paradiddles – Dot & Cut | Adding a flam to various notes within the dot & cut paradiddle sequence creating syncopation similar to accented dot & cut paradiddles only with a slightly different colour to the sound. | 03:15 | |
| Flam Triplets | Adding a flam to various notes within the triplet sequence creating syncopation only with a slightly different colour of sound. | 02:28 | |
| Flam Tap Development | Developing the ability to switch between flams and taps smoothly which is a huge building block towards playing drum scores. | 03:06 | |
| Tap Flam Development | Developing the ability to switch between taps and flams smoothly which is a huge building block towards playing drum scores. This is also a good exercise for developing the upstroke. | 03:47 | |
| Triplet to Flam Development | A fundamental combination of rudiments that pipe band drummers will play from an elementary level all the way through to the most advanced level drummer. | 05:30 | |
| Paradiddle to Flam Development | A fundamental combination of rudiments that pipe band drummers will play from an elementary level all the way through to the most advanced level drummer. | 04:31 | |
| Single Fives | Five successive single taps starting and finishing on the same hand. All taps should be played equally in volume, height and speed. | 02:23 | |
| Single Sevens | Seven successive single taps starting and finishing on the same hand. All taps should be played equally in volume, height and speed. | 01:56 | |
| Single Nines | Nine successive single taps starting and finishing on the same hand. All taps should be played equally in volume, height and speed. | 01:59 | |
| Accented Single Four Strokes | This continuous group of single taps has an accent placed on the first of each group of four to help develop the control, clarity and smoothness required to subtly switch between accented and regular volume taps. This exercise should be played on both hands to develop both, the left and right, hands equally. | 02:29 | |
| Accented Single Six Strokes | This continuous group of single taps has an accent placed on the first of each group of six to help develop the control, clarity and smoothness required to subtly switch between accented and regular volume taps. This exercise should be played on both hands to develop both, the left and right, hands equally. | 01:45 | |
| Accented Single Eight Strokes | This continuous group of single taps has an accent placed on the first of each group of eight to help develop the control, clarity and smoothness required to subtly switch between accented and regular volume taps. This exercise should be played on both hands to develop both, the left and right, hands equally. | 01:35 | |
| Accented Single Four Stroke Exercise | Accented single fours using a paradiddle to alternate between the right and left single patterns. | 02:45 | |
| Accented Single Eight Stroke Exercise | Accented single eights using a paradiddle to alternate between the right and left single patterns | 02:02 | |
| Dead Stroke | The dead stroke is the fundamental sound required to accurately execute the drag rudiment. Here is is broken down into isolated movements to most efficiently execute the dead stroke. | 03:31 | |
| Tap & Dead Stroke | This exercise introduces the "catch & release" movement that is required to move smoothly between the tap and dead stroke sound. | 04:33 | |
| Dead Stroke Development | An exercise incorporating the dead stroke with a paradiddle and triplet pattern. | 04:20 | |
| Closed Drag | The drag is a tap and dead stroke played almost at the same time to create a unique sound to the pipe band drumming style. It is similar to a flam, in that two notes make one sound. The drag is a very subtle sound. | 04:39 | |
| Drag Tap | Developing the ability to switch between drags and taps smoothly which is a huge building block towards playing drum scores. | 02:22 | |
| Five Stroke Roll to Tap | Not to be confused with a seven stroke roll this is also known as a long five stroke roll or dot & cut five stroke roll. I like to call it five stroke roll to tap as it is what it says on the tin. This exercise starts on one hand and finishes on the other. | 02:40 | |
| Seven Stroke Roll to Triplet Flam | Possibly the most common of all phrases we play in the pipe band drumming community. This phrase, although seems simple, is a stumbling block for lots of young, and not so young, drummers around the world. | 05:00 | |
| Tap to Buzz | This lesson is not widely taught round the world yet a very important piece of information to smoothly although the transition between tap and buzz sound. This is the fundamental building block to incorporating taps into roll sequences. | 04:27 | |
| Six Stroke Roll | The six stroke roll is the same sticking as a seven stroke roll only it starts with a tap instead of a buzz. | 03:19 | |
| Continuous Six Stroke Roll | Following a tap, buzz, buzz pattern the continuous six stroke roll moves seamlessly between right and left hands in a triplet rhythm. | 02:48 | |
| Twelve Stroke Roll | The twelve stroke roll is the same sticking as a thirteen stroke roll only it starts with a tap instead of a buzz. | 03:34 | |
| Clean Roll Endings | No matter what level you play, finishing rolls cleanly is an absolute must have ability. Watch, practice, repeat! | 02:21 | |
| Practice Pad Position | This is the biggest cause of technique flaws I see when I travel around the world. Please check your pad position and adjust if necessary, the improvements you will see will be huge. | 03:33 | |
| Three Four March – Middle Phrase | This is "chorus" to each part of the three four beginner march. | 04:41 | |
| Three Four March – 1st Part Building Phrase | This phrase is played twice in each line of the first part. It will be put together with the middle phrases to build up an entire part of the beginner three four march. | 03:08 | |
| Three Four March – 2nd Part Building Phrase | This phrase is played twice in each line of the second part. It will be put together with the middle phrases to build up an entire part of the beginner three four march. | 03:04 | |
| Three Four March – 3rd Part Building Phrase | This phrase is played twice in each line of the third part. It will be put together with the middle phrases to build up an entire part of the beginner three four march. | 01:44 | |
| Three Four March – 4th Part Building Phrase | This phrase is played twice in each line of the fourth part. It will be put together with the middle phrases to build up an entire part of the beginner three four march. | 01:35 | |
| Three Four March – 1st Part Complete | This lesson puts together the entire first part of the beginner three four march. | 02:47 | |
| Three Four March – 2nd Part Complete | This lesson puts together the entire second part of the beginner three four march. | 02:52 | |
| Three Four March – 3rd Part Complete | This lesson puts together the entire third part of the beginner three four march. | 02:35 | |
| Three Four March – 4th Part Complete | This lesson puts together the entire fourth part of the beginner three four march. | 02:44 | |
| Introduction Rolls | The introduction rolls are essentially two 25 stroke rolls with one beat between them. They are used at the beginning of a marching piece of music so pipers can get their pipes started for the beginning of the tune. | 01:49 | |
| Three Four March – Complete | You've done it! You have learned your first complete drum score for the beginner three four march! Congratulations! | 03:38 | |
| Two Four March – Middle Phrase | This is like the "chorus" to each part of the two four beginner march. | Elem. | 02:26 |
| Two Four March – Ending Phrase | This phrase concludes each part of the two four beginner march. | Elem. | 02:25 |
| Two Four March – 1st Part Building Phrase | This phrase is played four times in the first part of the beginner two four march. | Elem. | 03:14 |
| Two Four March – 2nd Part Building Phrase | This phrase is played four times in the second part of the beginner two four march. | Elem. | 01:21 |
| Two Four March – 3rd Part Building Phrase | This phrase is played four times in the third part of the beginner two four march. | Elem. | 02:09 |
| Two Four March – 4th Part Building Phrase | This phrase is played four times in the fourth part of the beginner two four march. | Elem. | 01:29 |
| Two Four March – 1st Part Complete | This lesson shows how the first part phrase, middle phrase and ending phrase all combine together to make up the entire first part of the beginner two four march. | Elem. | 02:47 |
| Two Four March – 2nd Part Complete | This lesson shows how the second part phrase, middle phrase and ending phrase all combine together to make up the entire first part of the beginner two four march. | Elem. | 02:25 |
| Two Four March – 3rd Part Complete | This lesson shows how the third part phrase, middle phrase and ending phrase all combine together to make up the entire first part of the beginner two four march. | Elem. | 02:37 |
| Two Four March – 4th Part Complete | This lesson shows how the fourth part phrase, middle phrase and ending phrase all combine together to make up the entire first part of the beginner two four march. | Elem. | 02:16 |
| Two Four March – Complete | You've made it! Here you can play along with Steven for the entirety of the beginner two four march. | Elem. | 02:53 |
| Four Four March – Middle Phrase | This lesson teaches you the "chorus" like phrase in the four four march. | Elem. | 02:39 |
| Four Four March – Ending Phrase | This phrase concludes each part of the four four beginner march. | Elem. | 00:56 |
| Four Four March – 1st Part Building Phrase | This phrase is played four times in the first part of the beginner four four march. | Elem. | 01:13 |
| Four Four March – 2nd Part Building Phrase | This phrase is played four times in the second part of the beginner four four march. | Elem. | 02:42 |
| Four Four March – 3rd Part Building Phrase | This phrase is played four times in the third part of the beginner four four march. | Elem. | 02:05 |
| Four Four March – 4th Part Building Phrase | This phrase is played four times in the fourth part of the beginner four four march. | Elem. | 01:53 |
| Four Four March – 1st Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire first part of the beginner four four march. | Elem. | 02:19 |
| Four Four March – 2nd Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire second part of the beginner four four march. | Elem. | 02:14 |
| Four Four March – 3rd Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire third part of the beginner four four march. | Elem. | 02:03 |
| Four Four March – 4th Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire fourth part of the beginner four four march. | Elem. | 02:04 |
| Four Four March – Complete | You've made it! Here you can play along with Steven for the entirety of the beginner four four march. | Elem. | 02:34 |
| Six Eight Compound Time – Dot Cut | Here we look at the basic six eight march rhythm to introduce a completely new time signature to your repertoire. | Elem. | 02:22 |
| Six Eight March – Middle Phrase | This lesson teaches you the "chorus" like phrase in the six eight march. | Elem. | 03:17 |
| Six Eight March – Ending Phrase | This phrase concludes each part of the six eight beginner march. | Elem. | 03:15 |
| Six Eight March – 1st Part Building Phrase | This phrase is played four times in the first part of the beginner six eight march. | Elem. | 02:29 |
| Six Eight March – 2nd Part Building Phrase | This phrase is played four times in the second part of the beginner six eight march. | Elem. | 02:44 |
| Six Eight March – 3rd Part Building Phrase | This phrase is played four times in the third part of the beginner six eight march. | Elem. | 04:06 |
| Six Eight March – 4th Part Building Phrase | This phrase is played four times in the fourth part of the beginner six eight march. | Elem. | 02:10 |
| Six Eight March – 1st Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire first part of the beginner six eight march. | Elem. | 03:39 |
| Six Eight March – 2nd Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire second part of the beginner six eight march. | Elem. | 03:12 |
| Six Eight March – 3rd Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire third part of the beginner six eight march. | Elem. | 03:06 |
| Six Eight March – 4th Part Complete | This lesson shows how the part phrase, middle phrase and ending phrase all combine together to make up the entire fourth part of the beginner six eight march. | Elem. | 03:08 |
| Six Eight March – Complete | You've made it! Here you can play along with Steven for the entirety of the beginner six eight march. | Elem. | 02:55 |
| How much should I practice? | A question I often get asked when I teach at schools and workshops all over the world. Here I have tried my very best to answer it. | 06:11 | |
| Baby Shark | The song that broke the internet now has a drum score. This is essentially a flam exercise to Baby Shark that went viral on Facebook so I thought I would share it with you guys here. | 03:00 | |
| Roll Sequence Development 7 – 13 – 25 | This lesson develops three of the most common closed rolls we play in pipe band drumming. Everyone needs these rolls from beginner right to the most advanced player, it's never to late to revise them. | Adv., Elem., Int. | 03:03 |
| Three Key Sounds : Buzz -Tap – Flam | The three common sounds we as pipe band drummers need to be able to clearly execute. This lesson is a must for all drummers. | Adv., Elem., Int. | 02:51 |
| Flam Swiss Triplet | The Swiss triplet sticking is RRL or LLR. This lesson incorporates the flam on the beginning of the Swiss triplet pattern. | 03:31 | |
| Drag Swiss Triplet | The Swiss triplet sticking is RRL or LLR. This lesson incorporates the drag on the beginning of the Swiss triplet pattern. | 04:25 | |
| Flam Windmill | This exercise is an extension of the flam tap and alternates between right and left hands. | 03:41 | |
| Drag Windmill | This exercise is an extension of the drag tap and alternates between right and left hands. | 03:04 | |
| Flam Windmills – Groups of 6 | Exploring flam windmills in groups of six is a fun way to practice this exercise. Not only does it help you work on your flam execution but also your doubles and timing is of the utmost importance. | Int. | 01:53 |
| Flam Windmills – Groups of 8 | Exploring flam windmills in groups of eight is another fun way to practice this exercise. Not only does it help you work on your flam execution but also your doubles and timing is of the utmost importance. | Int. | 01:38 |
| American Ratamacue | This rudiment is listed on the percussive arts society list of rudiments and is used within lots of drumming genres. Here it is found in it's most simplistic form. | 02:29 | |
| American Flam Ratamacue | Here we add the flam to the beginning of an American ratamcue for a little bit of a different flavour to the sound. | 02:44 | |
| Scottish Ratamacue | This intermediate/advanced rudiment incorporates a double stroke and single five played together to sound like seven even notes. | 04:23 | |
| Open Drags | This rudiment is listed on the percussive arts society list of rudiments and is used within lots of drumming genres. Here it is broken down slowly into it's most simplistic form. | 03:20 | |
| Dot & Cut Open Drag Development | This lesson establishes a dot & cut 1/16th note feel incorporating the open drag within the pattern so illustrate how the open drag is commonly timed in our genre of drumming. | 04:07 | |
| Dot & Cut Paradiddle with Closed Drag | This lesson establishes a dot & cut 1/16th note feel incorporating the closed drag within the pattern so illustrate how the closed drag is commonly timed in our genre of drumming. | 03:26 | |
| Eleven Stroke Roll | A key roll sequence for drummers making their way into their early MAP march scores as this is a commonly found sequence that is a little tricky to get the hang of but will be invaluable in the future! | Int. | 02:23 |
| Eleven Stroke Roll to Tap | Another key roll sequence for drummers making their way into their early MAP march scores as this is a commonly found sequence that is a little tricky to get the hang of but will be invaluable in the future! | Int. | 02:47 |
| Eleven Stroke Roll to Six Stroke Roll | An extremely common roll sequence in marches and reels that will be a welcome addition to your drumming armoury. | Int. | 02:40 |
| Single Six Development | This rudiment is extensively used in drum scores and is a tap played onto a single five to create an even single run of six. It is played from the left to right hand and vice versa, right to left. | 03:18 | |
| Flam Six Development | This rudiment is extensively used in drum scores and is a flam played onto a single five to create an even single run of six. It is played from the left to right hand and vice versa, right to left. | 02:52 | |
| Drag Five Development | Drag fives are a combination of a closed drag and a single five starting on the same hand as the drag. A difficult rudiment to master the subtly and smoothness from the drag to tap transition. | 03:38 | |
| Fives & Sixes Exercise | In this lesson we combine the single five and single six in a rhythmical pattern similar to how it would be seen in a drum score. | 03:00 | |
| Triplet Rolls | The triplet roll, or trizlet, is an extremely difficult movement to learn and master due to the finesse it requires from the finger and thumb movements to maintain the triplet segment of it. | 07:14 | |
| Swiss Ruff | The Swiss ruff is a Swiss triplet embellishment played into a tap to create a snappy sound. The triplet embellishment in this instance is either a RLL or LRR sticking sequence. | 05:10 | |
| Stick Dribble | How to bounce the sticks using only our fingers and thumb for control eliminating our arm and wrist movement. | 04:11 | |
| Technique Building Groups of 4 & 8 | The technique building exercises are used to rhythmically build the use of our finger movement on the right hand and our thumb movement on the left hand. Best played against a metronome for a true test of how even they sound not only in timing but in volume too. | 02:18 | |
| Technique Building Groups of 3, 6 & 12 | The technique building exercises are used to rhythmically build the use of our finger movement on the right hand and our thumb movement on the left hand. Best played against a metronome for a true test of how even they sound not only in timing but in volume too. | 02:53 | |
| Advanced Double Strokes | A more advanced approach in terms of tempo to the Mummy Daddy we learned way in the beginning. | 03:16 | |
| Warmup Exercise #1 | This is an exercise I've been playing to warmup with for at least twenty years. It including nine stroke rolls, six stroke rolls, single groups of six and dot/cut paradiddles. Great for getting the blood flowing in those hands! | 03:41 | |
| Five Stroke Roll Warm Up | Five stroke roll and five stroke roll to tap combinations in an rhythmical pattern using the dot/cut paradiddle to alternate hands. An oldie but a goodie. | 03:34 | |
| Left Flam Development Exercise | This exercise helps to isolate the Left Flam and build up the strength and dexterity in it by varying the placement of the flam within a 1/16 note grouping. | 04:34 | |
| Right Flam Development Exercise | This exercise helps to isolate the Right Flam and build up the strength and dexterity in it by varying the placement of the flam within a 1/16 note grouping. | 04:54 | |
| Wednesday Workout Drags | An advanced drag exercise I posted on social media one Wednesday, it's really fun any day of the week though! | 01:57 | |
| Advanced Accented Paradiddles | Accented paradiddle, taking the tempo up a notch! | 01:47 | |
| Advanced Paradiddle Tap | This lesson explores how to build the speed into a paradiddle to tap, making it sound like five even notes. | 02:41 | |
| Advanced Flamadiddle Tap | This lesson explores how to build the speed into a flamadiddle to tap, making it sound like five even notes. | 02:28 | |
| Advanced Flam Windmill | Building the tempo up on a flam windmill and focusing on the flam/tap clarity to achieve a smooth and consistent sound. | 02:44 | |
| Drag Windmill Combinations | A combination of drag windmills using groups of fur, six and eight to continuously alternate between our right and left hands. A very tricky exercise but lots of fun to play at any tempo. | 03:33 | |
| Flamadiddle – Triplet – Flam | I use this movement sparingly in drum scores however it is one of my favourites. It is what it says it is. Flamadiddle onto a triplet finishing on a flam. Check it out, practise it slowly and keep it even! | Adv. | 04:23 |
