The sound of a single drum tap is what it is. It cannot be “held,” nor can it be cut short. The only component of drum rolls that can lengthen or shorten is the interval of time between each tap.
The range of tap-to-tap time intervals between a relaxed and open-sounding double-stroke roll and a fast closed-sounding double-stroke roll is relatively limited. Tempo, coupled with timing, creates the conditions where the space between roll taps reaches the point where our ears perceive the drum roll sound. If the interval is too long, we no longer recognize them as roll sounds.
The number of roll strokes played in a given count of time is determined by tempo. Faster tempos = less time between pulse beats, resulting in a roll with fewer taps per beat. Slower tempos = more time between pulse beats, allowing a roll with more taps per beat.
The inverse relationship between the number of individual roll taps sounded per beat and the number of beats per minute is the “tap-rate.” To calculate tap-rates use this formula: the beats per minute x taps per beat = tap-rate.
The following examples explore the tap rates of duple pulse rolls and triple pulse rolls played at different tempos.
At a tempo of 80 bpm, a 32nd note triple pulse roll has 12 taps per dotted quarter note. The tap-rate is 80 bpm X 12 taps per beat = 960 taps per minute.
At a 120 bpm tempo, a duple pulse roll played as 32nd note double strokes have eight taps per quarter note. The tap-rate is 120 bpm X 8 taps per beat = 960 taps per minute.
As we can see, even though each roll’s tempo and duration differ, the tap-rate and the actual hand speed required to generate each is the same.
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