Category: Quips & Quotes

HOLDING THE DRUMSTICKS: 0.1

bbbb.psd

THERE IS MATCH GRIP AND TRADITIONAL GRIP

IF YOU DON’T LEARN THE RIGHT WAY TO HOLD AND USE YOUR STICKS,YOU CAN END UP EXPENDING A LOT OF EXCESS ENERGY AND POSSIBLY DAMAGING YOUR HANDS OR WRISTS. SO LEARN THE RIGHT WAYTO PLAY FROM THE START. THERE ARE TWO DIFFERENT APPROACHES TO HOLDING YOUR DRUM STICKS.

 MATCH GRIP“ BOTH IS HELD THE SAME WAY.

TRADITIONAL GRIP REQUIRES YOU TO HOLD THE STICKS IN LEFT HAND DIFFERENT THEN THE RIGHT.

EITHER OF THESE GRIPS ARE OK. MOST ROCK AND LIGHT ROCK MUSIC, TH DRUMMER WILL MOST LIKELY PLAY MATCH GRIP, IT’S A LOT EASIER TO MOVE AROUND THE TOM – TOMS AND THE REST OF THE TRAP SET. NOTE: I ALWAYS SUGGEST YOU LEARN THE TRADITIONAL GRIP FIRST. IT MAKES PLAYING EASIER WHEN YOU PLAY MATCH GRIP AND MORE AGGRESSIVE MUSIC. MATCH GRIP IS THE MOST COMMONLY USED GRIP AMONG ROCK DRUMMERS. WHEN BOTH YOUR HANDS USE IDENTICAL GRIP, ITS EASIER TO LEARN; THAT IS WHY I SUGGEST YOU LEARN TRADITIONAL GRIP FIRST. MAKE THE HARDER OF TO A FIRST LEARN SO THAT THE SECOND LEARN IS THAT MUCH EASIER. AND DOING MATCH GRIP FIRST DOESN’T LET YOU DEVELOP THE PROPER DRUMMING TECNECCKS. ONE REASON DRUMMERS AS THEY PROGRESS PLAY MATCH GRIP IS THAT INSTINCTIVELY YOU REACH OUT YOUR ARMS AND GRAB THE STICKS NATURALLY THAT WAY. IT’S 3″ (INCHES) FROM THE BACK END OR THE BUTT END OF THE STICK AND GRABS IT IN YOUR THUMB AND FIRST JOINT OF YOUR INDEX FINGER, THEN CLOSES YOUR FINGERS LOOSELY AROUND THE STICKS. THEN TURN YOUR WRIST SO BACK END OF YOUR HAND IS FACING UPWARD. AND THE STICK IS ANGLED INWARD AT A 45° (DEGREE) ANGLE.

DIFFERENT DRUM APPLICATIONS: 1.2 RIM SHOTS

bbbb.psdTHE “NORMAL” DRUM STROKE

RIM SHOTS

THE APPLICATION OF A “NORMAL” DRUM STROKE TECHNIQUE IS ACHIEVED BY ONE PLACING THE HEAD OF ONE’S DRUM STICK RIGHT IN THE CENTER OF THE DRUM HEAD AND STRIKING THE DRUM HEAD.

APPLICATION 1.2 RIM SHOTS TO HAVE THE DRUM STICK STRIKE THE RIM OF THE DRUM (SNARE DRUM) THIS TECHNIQUE IS REFERRED TO AS A “RIM SHOT” AND WILL BE DESCRIBED BELOW.

RIM SHOTS:  HOW TO HOLD THE DRUM STICK

ONE CREATES THE NECESSARY MOTION FOR THE RIM SHOT TECHNIQUE BY “TURNING” THE DRUM STICK IN YOUR LEFT HAND AROUND SO THAT THE “BUTT END OF THE STICK” (WIDER END OF THE DRUM STICK) EXTENDS OFF OVER THE DRUM HEAD TO ONE’S RIGHT – ABOUT FOUR OR FIVE INCHES OVER THE OUTSIDE OF THE RIM - WHILE THE “TIP END OF THE STICK” (NARROWER END OF THE DRUM STICK) IS ABOUT IN THE CENTER OF THE DRUM.

FOR THE RIM SHOT, ONE ALWAYS KEEPS THE HEAD OF THE DRUM STICK ON THE DRUM SKIN WHILE LIFTING THE DRUM STICK USING THE MATCH GRIP TECHNIQUE (EXPLAINED ELSEWHERE).

ABOUT ONE-HALF INCH OR LESS OF THE BUTT END OF THE STICK IS THEN USED TO TAP ON THE RIM.

BY VIRTUE OF THE POSITIONING OF THE DRUM STICK, AS DESCRIBED ABOVE, THE APPLICATION OF THE RIM SHOT TECHNIQUE PRODUCES A SOFT CLICKING SOUND SINCE THE SOUND IS GENERATED THROUGH THE DRUM STICK INTO THE SKIN OF THE DRUM HEAD.

DEPENDING ON YOUR ATTACK AND WERE YOU HAVE THE OVER HANG OF THE STICK MODIFIES AND MODULATES THE SOUND THAT WILL BE PRODUCED.

AS YOU EXPERIMENT AND PRACTICE WITH THE APPLICATION OF THE RIM SHOT TECHNIQUE, GENERATE THE SOUND THAT YOU THINK BEST ACHIEVES THAT WHICH YOU ARE MUSICALLY TRYING TO CONVEY TO THE LISTENER.

EVERYONE’S APPRECIATION AS TO THE SOUND BEING HEARD DIFFERS FROM PERSON TO PERSON. SO, TRY TO MAINTAIN YOUR MUSICAL INTEGRITY AND CREATE THE SOUND THAT YOU FEEL IS CONDUCIVE TO THE SONG’S MESSAGE AND THE BEAT FROM WITHIN.

L.U.K.E. 18:1

DRUM ROLL WITH LUKE JOHNN
L.U.K.E. is an acronym. Each letter represents another teaching component of the instructional video presentation.
Luke 18:1 reads, “men ought always to pray.”
LUKE 18:1 addresses LUKE JOHNN’S continuing spirituality and his faith, which despite the adversity and challenges in life that he has confronted, he has remained undaunted, faithful and prayerful.
Each video segment presents LUKE JOHNN displaying his talent and technique that is used by him to teach his student. His presentations include interesting and informative discourses complemented by a display of his unique drumming and percussion artistry. His technique is the culmination of years of training, skill, practice, passion and experience.
L = Lore and learning
  • LUKE JOHNN relates lore and stories from his “background” that highlights the instructional technique that will be presented in the video to the student. Playing an instrument is a learning experience. The history of the diverse pieces of equipment to be used as part of the instructional drum and percussion lessons will be explored. (e.g. drum stick, drum, cymbals, etc.).
U = Understanding
  • LUKE JOHNN explains how music is created, how the drum meshes with other musical band instruments, and the mechanics of how sound interplays with the technique to be presented to the student. This fundamental understanding remains an essential component of developing a student’s skills and appreciation for the craft.
K – Know-how
  • LUKE JOHNN gives instructional lessons to the student, which is presented in real time, slow motion, and then real time again. One is able to visually dissect the application of the technique being taught.
  • The student learns to apply the technique as LUKE JOHNN provides further personal correction to improve the student’s style and technique.
  • The student develops the know-how to grow with each new shared technique.
E – Example
  • Luke revisits the opening video clip for this session.
  • One is able to compare and assess the student’s improved skill level as the student learns to integrate the components of the newly introduced technique.
  • A comparison between the opening video clip and a video clip that captures the student’s newly acquired drumming and percussion technique is an example of what other students may learn from LUKE JOHNN.

DIFFERENT DYNAMICS MARKINGS: 1.1 “D-M-S”

THE SYMBOL

THE PHRASING

MEANING

PPP

PIANISSISSIMO

VERY, VERY SOFT

PP

PIANISSIMO

VERY SOFT

P

PIANO

SOFT

MP

MEZZO PIANO

MEDIUM SOFT

MF

MEZZO FORTE

MEDIUM LOUD

F

FORTE

LOUD

FF

FORTISSIMO

VERY LOUD

FFF

FORTISSISSIMO

VERY, VERY LOUD

THE DYNAMIC MARKINGS (“D-M,S”) OR PHRASING (THE TEMPO MARKINGS) TYPICALLY APPEARS AT THE BEGINNING OF THE SONG. IF YOU DON’T SEE ANY PHRASING OR D-M,S, THE SONG SHOULD BE PLAYED AT A MEDUIM VOLUME.

AS DYNAMIC MARKINGS OFTEN CHANGE THROUGHOUT A SONG, ALWAYS READ AHEAD. LEARN TO UNDERSTAND YOUR SHEET MUSIC BEFORE PLAYING IT.

ALWAYS REVIEW AND HIGHLIGHT YOUR “D-M,S” BEFORE YOU PLAY A SONG. THIS SIMPLE TECHNIQUE GIVES YOU A BETTER UNDERSTANDING OF WHAT IS COMING AHEAD AND YOUR TRANSITION WILL BE SMOOTH AND NOT STIFF.