STATION · 02 / PATTERNS
72 OF 72 PATTERNS LISTEDPattern Ledger & Stickings
| Pattern Name | Sticking Formula | Action |
|---|---|---|
Single Stroke Rollrudiment The foundation of all drumming. Alternating single strokes played with even dynamics, spacing, and relaxed rebound. | R L R L R L R L R L R L R L R L | |
Double Stroke Roll (Open)rudiment Two strokes per hand: R R L L. Focus on matching the volume, timbre, and height of both the primary and rebound stroke. | R R L L R R L L R R L L R R L L | |
Single Paradiddlerudiment The definitive hybrid rudiment: R L R R | L R L L. Features an accent on the first note followed by low controlled taps. | R L R R L R L L R L R R L R L L | |
Double Paradiddlerudiment Six-note pattern: R L R L R R | L R L R L L. Commonly played in 6/8 or triplet feel. | R L R L R R L R L R L L | |
Eight-on-a-Handrudiment Eight consecutive strokes on the right hand followed by eight on the left hand. The ultimate warmup and weak-hand diagnostic. | R R R R R R R R L L L L L L L L | |
Five-Stroke Rollrudiment Two double strokes followed by a single accent: R R L L >R | L L R R >L. | R R L L R L L R R L R R L L R L | |
Flam Accentrudiment A flam on the downbeat followed by two alternating taps in triplet feel: lR L R | rL R L. | R L R L R L R L R L R L | |
16th Note Accent Gridrudiment Alternating 16th notes with shifting accents through beat subdivisions: 1, e, &, and a. | R L R L R L R L R L R L R L R L | |
Subdivision Timing Pyramidrudiment Transitions smoothly through Quarter notes -> 8ths -> Triplets -> 16ths at a constant metronome click. | R L R L R L R L R L R L | |
Double Paradiddlerudiment Six-stroke rudiment with two alternating singles and a diddle: R L R L R R | L R L R L L. | R L R L R R L R L R L L | |
Triple Paradiddlerudiment Eight-stroke grouping: R L R L R L R R | L R L R L R L L. Great for 4/4 16th note continuous flow. | R L R L R L R R L R L R L R L L | |
Flam Taprudiment Alternating diddles beginning with a flam: lR R | rL L. Essential marching and drum set coordination. | R R L L R R L L | |
Flamacuerudiment Syncopated rudiment: Flam on 1, ACCENT on e, low taps on & and a, ending with a flam on beat 2: lR >L R L lR. | R L R L R L R L | |
Swiss Army Tripletrudiment European military rudiment: Right hand plays continuous doubles while left hand inserts alternating flams: lR R L. | R R L R R L R R L R R L | |
Six Stroke Rollrudiment Drum corps & gospel favorite: Accent Single, two doubles, Accent Single: >R L L R R >L (or >R R L L R >L). | R L L R R L L R R L L R | |
Seven Stroke Rollrudiment Three rapid doubles followed by an accented downbeat: R R L L R R >L. | R R L L R R L L L R R L L R | |
Nine Stroke Rollrudiment Four double strokes resolving on an accented downbeat: R R L L R R L L >R. | R R L L R R L L R L L R | |
Single Drag Taprudiment Two low grace-note diddles leading into an alternating single tap: llR L | rrL R. | R L L R R L L R | |
Lesson 25 (Two-and-Three)rudiment Classic 1812 military rudiment: Two alternating singles and a drag ending on a downbeat: R L rR L >R. | R L R L R L R L R L | |
Inverted Double Stroke Rollrudiment Off-set doubles shifting the accents to the weak rebound: R L L R R L L R. | R L L R R L L R R L L R R L L R | |
Single Flammed Millrudiment Inverted paradiddle starting with a flam: lR R L R | rL L R L. Massive gospel & drum corps favorite. | R R L R L L R L R R L R L L R L | |
Herta (Hybrid Chops)rudiment Modern drumline and gospel speed burst: two 32nd notes followed by two 16th notes: R L R L. | R L R L R L R L R L R L R L R L | |
Pataflaflarudiment Distinctive four-note flam grouping: Flam, single, single, flam: lR L R rL. | R L R L R L R L R L R L R L R L | |
Classic Snare-to-Tom Cascadefill The foundational rock fill: 4 sixteenth notes on the snare, cascading down High Tom, Mid Tom, and Floor Tom, landing on Crash + Kick. | R L R L R L R L R L R L R L R L | |
The 2-Beat Snare Dropfill A 2-beat turnaround fill: holds groove on beats 1 & 2, then explodes into a driving 16th-note snare roll on beats 3 & 4 leading into the chorus. | K R L R R L R L R L R L | |
The "Cold Sweat" 2-Beat Turnfill James Brown style funk turn: tight syncopated ghost notes with crisp punchy snare and kick accents. | K R L L K L R L L R K | |
Classic Jazz 8th-Note Triplet Rollfill The definitive big-band swing fill: cascading 8th-note triplets moving smoothly from Snare to High Tom and Floor Tom. | R L R L R L R L R L R L | |
One-Drop Timbale Cross-Stick Fillfill Quintessential Jamaican reggae fill: crisp high-tuned snare rimshots and high tom accents setting up the heavy beat-3 drop. | R L R L R K R L R L | |
Cha-Cha-Chá Bell & Timbale Setupfill Traditional Afro-Cuban ballroom transition: syncopated open floor tom and high-tuned rim clicks introducing the brass shout section. | R L R L R L R K | |
The Classic 6-Stroke Gospel Rollfill The bread-and-butter gospel chop: Sticking R L L R R L. Accents land on High Tom and Floor Tom while inner doubles stay on the snare. | R L L R R L R L L R R L | |
The "John Bonham Triplet" (Led Zeppelin)fill One of the most revered rock fills in history: Hand-Hand-Foot triplet (Right Hand on High Tom, Left Hand on Floor Tom, Right Foot on Kick). | R L K R L K R L K R L K | |
Phil Collins "Air Tonight" Power Tom Runfill The world-famous gated reverb tom fill: heavily syncopated, booming tom hits entering unexpectedly on beat 3. | R L R L R L K R | |
Linear 16th-Note Funk Pocket Fillfill No two limbs hit at the same time: a continuous linear stream between Snare, High Tom, Floor Tom, and Bass Drum. | R L K R L K R L K R L K R L R K | |
Timbale "Abanico" Rimshot Rollfill The standard Cuban timbale roll: rim-clicks, high-speed single stroke buzz, and a sharp cascara transition rimshot. | L R L R R L R L R L R K | |
Swiss Army Triplet Power Marchfill Rudimental power fill: flammed Swiss triplets alternating between High Tom and Floor Tom over a pounding double bass pedal. | R K R L R K R L R K R L R L K | |
Tony Allen Polyrhythmic 3:4 Fillfill The heartbeat of Fela Kuti’s Africa 70: A 3-note grouping (Snare-HiHat-Kick) repeating across a 4/4 bar creating hypnotic syncopation. | L R K L R K L R K R L R K L K | |
The "Gospel Chop" Sextuplet Blizzardfill Blazing 6-note hand-foot groupings (R L K R L K) splashing across Crash, Snare, Floor Tom, and Bass Drum at breakneck speeds. | R L K R L K R L K R L K | |
The 32nd-Note "Herta" Chopfill DCI marching hybrid rudiment brought into jazz-fusion: two 32nd notes followed by two 16th notes (R L R L) split between snare and toms. | R L R L R L R K R L R L R L R K | |
Machine Gun Quads (Hands & Double Bass)fill Extreme metal quad pattern: 2 hand strokes on toms followed immediately by 2 lightning fast double kick beats (R L K K R L K K). | R L K K R L K K R L K K R L K K | |
Elvin Jones 3:4 Polyrhythmic Cross-Fillfill Post-bop metric superimposition: triplets grouped in 4-note clusters floating across ride, snare, and bass drum over John Coltrane modality. | R L K L R K L R K R L R | |
Amen Break Jungle Stutter Fillfill High-speed Drum & Bass jungle fill: sliced Amen break syncopations with rapid ghosted snare buzzes and displaced kick hits. | K R L R L R K L R L R K | |
Batucada Repinique Street Samba Callfill The explosive Rio de Janeiro Carnival drum master call: single-stick rimshots and bare hand slaps cascading into a thunderous samba turnaround. | R L R L R L R L R L R L R K | |
The 6-Note Linear Gospel Stormchop The definitive church shed chop: hand-hand-foot 6-note groupings flowing across cymbals, snare, and floor tom into double kick punches. | R L K R L K | |
Aaron Spears Linear Quad Cascadechop The legendary Usher live solo chop: 2 hands followed by 2 blazing kick hits, moving down from Hi-Hat/Snare into Rack Tom and Floor Tom. | R L K K R L K K | |
Spanky Davis Paradiddle-Diddle Sweepchop Voicing the paradiddle-diddle as a blistering gospel run: Right hand leads on high tom and floor tom, left hand ghost notes on snare, doubles stay feather-light. | R L R R L L | |
The 7-Note Metric Displacement Chopchop Odd-grouping mastery: A 7-note pattern (Hand-Hand-Kick Hand-Hand-Kick-Kick) played across 16th notes that continuously rotates over the bar line. | R L K R L K K | |
The Eric Moore 32nd Herta Blastchop Blistering hand speed: Two rapid 32nd notes on snare followed by two 16th notes on toms and two thunderous kicks (Herta + Foot Quads). | R L R L K K | |
The Vinnie Colaiuta 5-Stroke Quintupletchop Polyrhythmic brilliance: Groups of 5 notes (4 hand strokes + 1 kick) repeating over 4/4 time, creating mind-bending metric illusions. | R L R L K | |
Dave Weckl Linear 6/8 Tom Chopchop Classic jazz-fusion precision: Right hand accent on rack toms, soft left hand double on snare, ending with two articulate kick beats. | R L L R K K | |
Larnell Lewis Linear Snarky Chopchop Modern groove-fusion lick: Hand-to-foot linear weaving alternating between Hi-Hat, Snare ghost notes, and displaced bass drum snaps. | R L R K L R L K | |
The John Bonham Quad Crushchop The heavyweight granddaddy of all hand-foot chops: High Tom, Floor Tom, and two devastating bass drum kicks rattling the floorboards. | R L K K R L K K | |
Dave Grohl Power Herta Smashchop Raw visceral energy: fast flammed snare hertas bursting into a thunderous floor tom downbeat and simultaneous crash cymbal choke. | R L R L K | |
David Garibaldi Oakland Tower Chopchop The pinnacle of syncopated pocket drumming: Ghost notes dancing between rimshots, accented bell pings, and syncopated kick stabs. | R L K R L L K R | |
Nate Smith Pocket Displaced Chopchop Deep, greasy, behind-the-beat pocket chop: Right hand accents the hi-hat and snare rim while the kick anchors the deep groove. | R L K R L K R L | |
The Machine Gun Double-Bass 8-Sweepchop Brutal high-speed double kick sweep: 2 hand strokes across rack toms followed immediately by 2 rapid double-bass kicks at blazing tempo. | R L K K R L K K | |
The Meshuggah 7/16 Polyrhythmic Stutterchop Mind-bending polyrhythmic math metal: A 7/16 kick/snare phrase cycling independently over an unyielding 4/4 china cymbal pulse. | R L K K K R L K | |
Max Roach Melodic Tom Solo Chopchop Bebop melodic phrasing: Tuning the toms like melodic drums and executing phrased triplet clusters over feathered bass drum pulses. | R L R L K | |
Horacio "El Negro" Clave Independence Chopchop Independence tour de force: Interlocking linear 16ths across timbales/snare while maintaining a steady clave rhythm. | R L K R L K R L | |
Bruno Mars "24K Magic" Funk-Pop Quad Burstchop The signature live arena transition in Bruno Mars hits: punchy linear quads cascading from open hats down to snare and floor tom, resolving on an accented backbeat. | R L K K R L K K R L R L K K R K | |
Aaron Spears "Sorry / Purpose" Stadium Sextupletchop Aaron Spears' legendary stadium tour lick: lightning-fast linear 6-stroke bursts dropping from cymbals into deep toms before a double kick hit. | R L K R L K R L K R L K R L R L K K R L R L K K | |
Dua Lipa "Don't Start Now" Disco-Pop 16th Sweepchop High-energy modern nu-disco pop break: crisp hi-hat 16ths locking with offbeat kicks and rapid snare-tom handoffs. | R L R L K R L R L K R L K K R K | |
Jonathan "Sugarfoot" Moffett MJ Stadium Stutterchop The thunderous live stadium chop pioneered by Sugarfoot Moffett during Michael Jackson tours: ghosted snare handoffs interlocked with double bass punches and cutting rimshots. | R L R K R L K R L R K K R L K K | |
Silk Sonic / Anderson .Paak Vintage Pop Pocket Chopchop Buttery smooth, warm retro-pop pocket lick: six-stroke rolls split between hi-hat edge, ghosted snare, and warm floor tom, anchored by a double kick release. | R L L R R L K K R L L R R L K K | |
Beyoncé "Homecoming" Stadium Drumline Shredchop The show-stopping HBCU marching band drumline break from Beyoncé's Coachella performance: flam accents and paradiddle-diddles sweeping across rack and floor toms. | R L R R L R L L R L K K R L K K | |
The Weeknd "Blinding Lights" 80s Arena Tom Flurrychop Blistering 171 BPM 80s synth-pop stadium buildup: fast alternating singles between high tom, mid tom, and snare over a driving kick foundation. | R L R L K R L R L K R L K K R L | |
Olivia Rodrigo "good 4 u" Pop-Punk Herta Smashchop The viral 2000s-revival pop-punk explosion: high-energy Hertas split between crash/snare and double bass, launching into the screaming chorus drop. | R L R L K R L R L K R L R L K K | |
Taylor Swift "The Eras Tour" Stadium Stomp Chopchop Massive acoustic arena dynamics: resonant floor tom accents interlocking with double kick strikes to get 70,000 fans jumping in unison. | R K L K R L K K R K L K R L K K | |
Harry Styles "As It Was" Melodic Pop Chopchop Tasteful, upbeat modern indie-pop fill: crisp single strokes rolling across high tom and snare that add energetic forward momentum without masking vocal melodies. | R L R L K R L R R L R L K R L K | |
Rihanna "Diamonds" Trap-Pop 32nd Hi-Hat Roll & Dropchop Modern urban-pop signature: rapid hi-hat rolls executed with loose wrists that drop down into an explosive kick and floor tom unison hit. | R L R L R L R L K K R L K K R K | |
Katy Perry "Roar" Anthem Stadium Build-Chopchop Anthemic pop build-up: linear quads rolling down from rack to floor tom, opening wide into a crash choke and thunderous downbeat. | R L K K R L K K R L R L K K R K | |
Brian Frasier-Moore "20/20" Disco-Pop Chopchop The ultimate pop tour session chops: inverted paradiddles spread between hi-hat edge, snare ghost notes, and toms, finished with rapid-fire double kicks. | R L L R L R R L K K R L L R K K | |
BTS / K-Pop Stadium Anthem Polyrhythmic Chopchop High-octane live K-pop concert transitions: hyper-tight linear bursts moving from hi-hat and snare to floor tom with machine-like double bass precision. | R L R L K K R L K K R L R L K K |