Carmen Intorre Jr. recently released his new book A Practical Approach to Rudimental Drumming. I recently purchased a copy soon after its release and have been working through it lately. Carmen has compiled a wonderful collection of exercises to practice that will undoubtedly improve your technique and musical approach to the snare drum if you take the time. I believe that learning the fundamentals of rudimental drumming is an essential part of any drummer and percussionists training and that this book compliments and adds to the important body of rudimental publications that already exist.
Carmen was nice enough take time out of his busy schedule to answer a few questions about his new book.
A Practical Approach to Rudimental Drumming by Carmen Intorre Jr. - February 2024
1) Tell us all about your new book!
The title of my book is A Practical Approach to Rudimental Drumming. This book is my attempt at helping drummers learn the rudiments and how to apply them around the kit. A major goal of my book is to state the importance of learning and mastering the rudiments. They are essential. In order to have a strong foundation you must learn the rudiments. Having a strong foundation will enable you to grow and achieve your goals on the drums. Think of the importance of learning rudiments in the same way pianists or other instrumentalists learn scales. In the book I introduce different ways to learn and orchestrate rudiments around the kit in hopes to spark ones imagination and creativity.
2) What was the motivation and inspiration for putting together this method?
I started playing the drums when I was four years old and my teachers taught me the importance of learning the rudiments since my very first lesson. I have a strong rudimental foundation. While studying the master drummers I found that they all have studied their rudiments. So with that observation I knew that these are incumbent for us drummers to master. I always found myself trying to play the various rudiments around the kit in different ways that would spark my creativity. I’d play each beat on a different drum, play left hand accents on the high tom, play right hand accents on the floor tom, as many different ways around the kit as possible. When I ask my students to learn this rudiment or that I get a sense of why? I get it that playing these patterns over and over on a pad or a drum can be a bore. In trying to excite them I would sketch out ideas orchestrating the rudiments around the kit for my students. I found that that they were more excited about that than learning traditional way. Although in my opinion there is no substitute to learning the traditional way. With these drum devices you cannot reinvent the wheel but we can try to add to it. Over time I complied many different exercises and when the opportunity to write a book presented itself I knew right away that this would be the subject.
I started playing the drums when I was four years old and my teachers taught me the importance of learning the rudiments since my very first lesson. I have a strong rudimental foundation. While studying the master drummers I found that they all have studied their rudiments. So with that observation I knew that these are incumbent for us drummers to master. I always found myself trying to play the various rudiments around the kit in different ways that would spark my creativity. I’d play each beat on a different drum, play left hand accents on the high tom, play right hand accents on the floor tom, as many different ways around the kit as possible. When I ask my students to learn this rudiment or that I get a sense of why? I get it that playing these patterns over and over on a pad or a drum can be a bore. In trying to excite them I would sketch out ideas orchestrating the rudiments around the kit for my students. I found that that they were more excited about that than learning traditional way. Although in my opinion there is no substitute to learning the traditional way. With these drum devices you cannot reinvent the wheel but we can try to add to it. Over time I complied many different exercises and when the opportunity to write a book presented itself I knew right away that this would be the subject.
3) How does your book differ from other snare drum method books currently on the market? What makes it unique?
Honestly there are a ton of drum method books out today. I think its great but with that said I’m not hip to all of them. My book is just my humble offering to the drumming world in hopes that someone out there will find it helpful and useful. I’m sort of a traditionalist when it comes to drum methods. My book is no substitute to the “drum bibles” as I like to call them, such as George Lawrence Stone’s Stick Control, Charley Wilcoxon’s Modern Rudimental Swing Solos for the Advanced Drummer, Ted Reed’s Syncopation, Dahlgren and Fine’s 4 Way Coordination. I studied all of these books and their influence on me has shaped my playing and teaching. One may find some small similarities? I feel that my book has the idea of playing music (melody) in mind along with drumming techniques.
4) How do you recommend students and teachers approach working through your materials?
One may have the urge to jump right in and go for it, but I feel it is very important to have a practice routine with goals in mind. When practicing, you should work on the things that you have trouble with. Playing what you already know is ok, but it will not maximize your practice time or help you learn new things. For me, I believe in practicing slowly and gradually working the tempo up. This strategy will not only help you break down the exercises but will often give you clarity. Remember there is nothing difficult; it is either familiar or unfamiliar. When playing through these exercises, give yourself a chance to really learn them. Repetition is the key. Pay close attention to the rhythm and to the sticking indicated, alternate when possible, practice beat by beat, bar by bar, and start to add the following bars until you feel absolutely comfortable with the exercise. Then move on to the next exercise and so on. I also highly recommend recording yourself while practicing so that you can hear exactly what you sound like. Remember to take your time and be patient with yourself. You’ll be able to get the most out of my book this way.
5) What are some of the challenges of putting together a drum method book? What advice do you have for anybody potentially interested in publishing their own book?
This is my first book and it definitely had its challenges. I found the editing step to be at times frustrating. I would submit a draft and then I would find another error and this kept happening over and over. So much that I thought it was a practical joke being played on me haha. I wanted every mistake corrected before it was published. Because of this it delayed the release for almost a year. The team at Low Down Publishing were very helpful and supportive. I wanted to do my best for them as well as everyone who may pickup a copy. Any advice I’d give would be to follow your heart. If there is something you truly believe in, in this case publishing a drum method book, then go for it. A great starting point is to just start writing down your ideas. Work out your ideas and make the necessary adjustments that expresses what you’d like to say on the drums. Just be honest!…that goes a long way and no-one can deny you.
Carmen is currently accepting new students. Click here for more information: www.carmenintorrejr.com/onlinelessons
To purchase an autographed copy of A Practical Approach to Rudimental Drumming please e.mail Carmen directly at carmenintorrejr@gmail.com
To purchase A Practical Approach to Rudimental Drumming please click here for more information
Born in Buffalo, NY, Carmen Intorre developed an early interest in music and began playing drums at age five. He has performed and recorded with numerous musicians such as George Benson, Larry Coryell, Wynton Marsalis, Monty Alexander, George Coleman, Eric Alexander, George Cables, Benny Golson, Richie Cole, Joe Locke, Lew Tabackin, Bobby Watson, Ira Sullivan, Bucky Pizzarelli, and many others. Carmen currently holds down the drum chair with legendary jazz guitarist Pat Martino, touring extensively throughout the world with the guitarist’s organ trio and quintet.
Reminiscent of Billy Higgins, Intorre brings a palpable swing and drive to virtually every bandstand he performs on.
