These hybrid patterns may not be on the list of 40 standard rudiments, but you should still add them to your repertoire! Juan Carlito Mendoza shares his favorites:

1. Herta

The herta alternates RLR L RLR L and sounds best when you accent the standalone lefts.

2. Blushda

The blushda starts with a left handed flam, followed by two 16th notes on the right, and topped off with an accented left.

3. Choo choo

When you get this one up to speed, it sounds like a train! All you have to do is play a paradiddle (RLRR) and put a flam on the third 16th note.

4. Flam grandpa

Arguably one of the best-named rudiments of all time, this is a 5 note pattern (RLRRL) that starts with a flam.

5. The stutter

It’s simple sticking, but sounds awesome when sped up. The pattern is RLR LRL with an accent on every left hand.

Are you digging these? Check out Juan’s full course on Drumeo!

We’ve put together a playlist with drumless tracks at different tempos so you can practice these hybrid rudiments over real music:

Are you a working drummer who doesn’t often play latin but wants to make sure you can get through the gig if you get the call? Juan Mendoza is here to save the day with five cool latin grooves every drummer should know – even if the style isn’t your bread and butter.

1. Cha-cha

Don’t have a cowbell? You can play the 8th notes on the hi-hat, but make sure you keep it “delicate”, especially in the song’s verses! Add the bass drum on the 2+ and the 4+.

One variation is to sub the 1 and 3 with a long quarter note buzz (to emulate the sound of a güiro).

2. Mambo

Your left hand moves from a cross-stick on the snare to the high tom, then back again. Your right hand plays a ride pattern over top. Add the bass drum on 2+ and add your left foot on the hi-hat on 2 and 4. (Juan moves the hi hat to the 1 & 3 to make it easier to hear the downbeat when breaking down the rhythms.)

3. Nanigo

In this 6/8 groove, notice where the right hand accents are. Fill in with ghost notes on your left hand. You’re essentially playing a double paradiddle with a variation at the end. The pattern is RLRLRR LRLRLR RLRLRR LRLRLR. No cowbell? Put your right hand on the ride cymbal.

Add a kick on the downbeat and again on the last note of the second bar as a pick-up. Your left foot keeps time on the hi-hat.

4. Mozambique

Your right hand keeps the pattern going on the cowbell (or ride), with your left hand moving from the snare to the toms. The key to the Mozambique is the funky bass groove. And always keep your left foot going on the hi-hat.

5. Songo

With your right hand playing the pattern on the cowbell or ride, make sure you’re getting two distinct sounds: the accent from the mouth of the cowbell (or bell of the ride) and the other notes from the top of the cowbell (or bow of the ride). Your left hand alternates between ghost notes and accents while a few bass drum punches anchor the groove. Keep your left foot going on the hi-hat, or add a clave for an additional challenge!

While there are many other important latin grooves you should learn, these five will give you a good foundation as a working drummer. You can build from there!

“I learned a rudiment. Now what do I do with it?”

Juan Mendoza’s book Rudiment Creativity answers that question – and then some – by introducing 11 methods for adapting each rudiment to the drum set in a creative way. Anyone can play this stuff, not just seasoned drummers.

In this game-changing video lesson, you’ll learn what those 11 methods are and how rudiments can be applied to grooves. Juan recommends starting with just one of the methods (get outside your comfort zone and choose one you wouldn’t normally think of) and exploring rudiments in a non-traditional sense.

Lesson Index:
0:21 – SONG: “Nada es Imposible” by Rene Gonzales
4:24 – Introduction
7:39 – Splitting hands
10:37 – Moving the right hand
11:55 – Moving the left hand
14:55 – Sweeping inward & outward
17:35 – Subdivision adjustment
19:50 – Substitution
21:25 – Displacement
22:48 – Using a rudiment as an ostinato
24:05 – Adding accents
26:55 – Moving the accents
29:09 – Changing the time signature
31:00 – SOLO
35:40 – Takeaways
36:28 – SONG: “Odd Movements” by Damani Rhodes

The Methods

1. Splitting hands

Instead of treating a rudiment pattern as a one surface exercise, split it between two surfaces (ie. snare and tom). Try with both right and left hand lead.

2. Moving the right hand

While playing the same pattern, start moving the right hand around the toms to create more textures.

3. Moving the left hand

You can keep moving the right hand around while you start moving the left around, or keep the right hand steady and move the left between the hi-hat and the snare.

4. Sweeping inward & outward

Create melodies by sweeping inward (letting the sound sources come toward the body) or sweeping outward (moving away from the body). Try this with a double stroke roll. In this video, Juan swings the doubles.

5. Subdivision adjustment

Give the pattern a different flavor. Play an 11 stroke roll (organized around a sextuplet) and breaking it up around the kit with different accents.

6. Substitution

Substitute one limb for a different one. Try playing a paradiddle diddle where you sub the left hand for the bass drum.

7. Displacement

Instead of always starting on the downbeat, put the ‘one’ on a partial or any subdivision.

8. Use the rudiment as an ostinato

Play paradiddles and put an accent on the downbeats. Use it in a groove context and get creative.

9. Adding accents

With that same paradiddle pattern, you can move the accents around to the e, the and, the a, and so on. Paradiddles don’t have to sound mechanical; you can make them groove!

10. Moving the accents

Add accents to a double stroke roll. Move them around. Try combining them with sweeping in and out.

11. Changing the time signature

Let’s say you’d normally play a paradiddle with 16th notes in 4/4 or 6/8. Try playing it in 7/8, letting it drift over the bar line. This is a great way to train your ear so when you’re soloing or playing something tricky you can understand how everything falls into place.

Check out more of Juan’s lessons on Drumeo .

Juan plays:
Pearl Drums
Meinl Cymbals
Remo Drumheads
Vic Firth Drumsticks

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We’ve put together a playlist with drumless tracks at different tempos so you can practice these rudiments over real music: