Notes:

• Sousa lists the rudiments as exercises, they are not referred to as rudiments
• 26 Rudiments listed (first four exercises are learning the roll, exercise 10 is roll breakdown)
• Other than exercise 10, there is no focus on open/close/open on any other rudiments
• All rolls began with left hand
• Eleven Stroke Roll is alternating
• Flam and Stroke (exercise 13) is Inverted Flam Taps with accent on tap
• Flam and Feint (exercise 14) is a more difficult version of Inverted Flam Taps
• The Feint and Flam (exercise 15) appears to be backwards flams based on the dynamics
• No accents appeared on the Ratamacues
• Four-Stroke Ruff is not alternated
• Single Paradiddle has first two notes accented, while Stroke Paradiddle has a single accent
• The Drag Paradiddle is similar to the Flam Paradiddle, replacing the flam with a ruff. This is obviously where John J. Heney, as a drummer in Sousa's band, picked up his unique style for writing snare solos
• The Stroke and Drag Paradiddle is not shown as alternating, and neither is the Flam and Drag Paradiddle

Excerpts from the book:

"The action of the arms in rolling or beating must be limited as much as possible to the fore-arms and wrists. "

"After a thorough mastery of the various rolls and figures, the most essential requisite for a drummer is to be a good timist. The use of the metronome as a time beater is of great value."

Under the Closed Flam (exercise 12) "Where the movement is rapid the close flam should be played R.L. only."

After the rudiment exercises he writes "In moderate or slow time the quarter note rolls are to be eleven stroke, the eighth note rolls to be seven stroke."

Sousa has several pages describing how the drummer should sit or stand, how the drum is worn, how to hold the sticks, where to strike the drumhead, and how to tuck a drumhead.

Rudiments