A question about technique from Ben in Australia:
I have been working on my grip which has become prominently German.
I'm finding that it's very comfortable and natural for the slower aspects with grooves, sticking patterns and general playing on the kit.
However I find that as it's a big wrist movement grip.....it gets to a point where there's no increase in speed. I have the control for sure.....but my speed becomes almost stunted. I can't seem to employ my fingers well with the German grip.
I find if I'm doing singles using the German grip and I start speeding up.....my hands morph into more of a french grip which allows me to use my fingers a LOT more.
Is this something that is perhaps natural for me or quite normal or could it be perceived as perhaps the beginnings of a bad habit?
It might be limiting on speed— though I don't know how fast you're talking. I can play fast enough for all normal professional purposes with it. I could have better technique for very dense, finely controlled playing at very fast jazz tempos— equivalent to 16th notes at quarter note = 165+. It seems like a lot of people's idea of speed is either way slower than I can play, or way faster— youtuber speed, vanity speed. I don't know where you are with it.
I don't believe technique is primarily about achieving ultimate speed. It's first about getting a sound, handling normal musical materials, and precise timing. And form for handling technical materials and dynamics.
I think if your hands move to another grip when doing a particular thing, it's not a big deal. As long as you're doing it well. My hands move around doing different things. I think the only thing that counts is what works when you're playing with people. Technique in the abstract on practice pad doesn't count— people try to do things on the pad they don't remotely know how to deploy musically when they're playing.
With a controlled German grip, keeping stick heights pretty low (~9" off the drum at the highest, mostly in the 3-5" range) you should be able to do most of what you need to do in music. I can't account for the high sticking thing people use to demonstrate things— 13-36" off the drum— I never have to deploy a lot of chops that loud. I don't think that's a good way to learn technique, playing so high you have to use arm. You don't have to train to use arm, you do have to train to use only/primarily wrist.
Read these posts for some more thoughts on technique.
7 comments:
As always with this blog, good post. I have a couple of questions, some technique, and some more theory. Can I ask away ?
Absolutely, anyone ask anything, in comments, or by email!
I like in Steve Smith’s new book, he talks about 4 versions of matched grip. Grip 1 and 2 are both versions of German grip, with Grip 1 using primarily wrist, without much finger involvement — keeping the fingers relaxed but not allowing them to open up. For his Grip 2, he talks about opening up the hand to allow the fingers to play more of an active role.
His Grip 3 is his version of French grip, and Grip 4 is a Tony Williams sort of French grip, powered by the back couple of fingers.
That sounds like a technique conversation I'd be interested in. I mostly ignore the topic because it's so dominated by the Moeller people and the Knutson push-pull people. I'll get that book.
Off the top of my head, Id like to pick your brains on the following;
Moeller technique - worth it, or waste of time ?
Heel up or down ?
Difference between diddles and buzzez ?
Briefly:
Moeller: To me "Moeller" = Jim Chapin technique. It's not the only way to hit a drum, and not the best way for all needs and applications. But sure, mess with it. It's good to play around with different ways of propelling the stick.
Heel up vs. down: Either? Both? Whichever you like. I played mostly heel up for a long time, now, for a long time, I have been playing mostly heel down.
Diddles vs. buzzes: Diddle is a stroke with exactly two even volume, evenly spaced notes sounding. Buzz or multiple-bounce stroke has many notes, approximately evenly spaced, but getting softer in volume.
Also-- diddles, to me, are double strokes played at normal 16th note speed-- as opposed to roll speed, long tone speed. I don't know if others make that distinction.
The technique and applications for those are way beyond what I can get into here-- that would be a subject for private lessons.
Thanks Todd.
Moeller - I agree.
Heel up or down - noted.
Diddles and buzzez - much appreciated.
Lessons - that would be great, just need to set aside the time and space and work out when to fit in due to our different time zones.
I have one more general question, if you don't mind, and that is are Real Books a potential barrier to better playing for musicians who heavily rely on them, rather than listening to and playing along with tunes ?
Of course readings a good skill, but some of the pieces in those books are incorrect, and if over relied on, it could come at a detriment to sharpening the ears, as well as improvisation, at least in my experience.
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