DRUMMER CAFE

I have been playing drums as a hobby for about 14 years (since 8th grade). I played triples/quads throughout high school with a little jazz band in there and I now play for my church worship band. I just recently really started seriously  practicing again, mostly on a practice pad at home because I don't have anyplace to keep a set at my house right now.

Anyway, I have been working through Stick Control and am really kind of taking a step back to the basics, scrutinizing my grip, stroke, tempo, etc. stuff I haven't really focused on since high school. So I noticed that when I play, for example, the first excercise in stick control (RLRLRL, etc..) that my natural inclination is to keep my sticks at rest about a 1/2 to 1 inch above the playing surface (a "ready position"). Then when I play the stroke, I raise the stick up to whatever hieght will give me the volume I want, then proceed to strike the surface, then return the stick to the "ready position". I do this with each stroke I take.

My questions is (and maybe I am overanlayzing myself), is this the correct way to do this, or should I, after playing a given stroke, be returning the stick to the height from which I need to begin the stroke to give me the volume I am wanting to play, or is returning the stick to the "ready position" ok?  In other words, should each stroke be a full stroke. As I played these excercises, it occurred to me that by returning to the "ready position", it is somehwat inefficient to raise the stick and then strike the surface. If I am always starting with the stick at the height I want, then I am eliminating the action of raising the stick up at the beginning ofeach stroke I take.

I have read Bart's lesson on the 4 stroke types, and I guess technically I am playing a downstroke each time I play a stroke, but not really intentionally. I mean, I realize that one could consciously practice downstrokes with these excercisex, but I am not consciously doing that, it is just what I currently do by default (who knows why!).

Any insight would be greatly appreciated! Thanks.

Thanks. This helps a lot. I suspected I was doing it right. It just felt more natural and comfortable. Your explanation of the stick being in motion vs/ not and how that affects the stroke was particularly helpful. Thanks!

I'm with steve on this.  For stick control, w/out accents,  you will use all 3 of the basic strokes, full stroke, down stroke, and up stroke.  On p.1, #1, you will only use full strokes, which means starting and ending the stroke in the same place.  1 inch above the head will generally be meant for very soft dynamics, 6 inches makes a nice mf sound(not mother f'er, mezzo forte!) .  I can expand on this stroke if needed but ending the stroke in the same place is it in a nutshell.  Down strokes start  from one spot and end at one inch above the head.  These are usful for an accented note that is followed by an unaccented note(in the same hand), accented paradiddles are a perfect example.  The upstroke is starting down low like at one inch, and ending up high(height determined by dynamic).  These are perfect when playing an unaccented note that is followed by an accented note( in the same hand), again accented paradiddles make great use of this.

Bart is right when he says to always return to the rest position.  However, when playing a series of unaccented notes, on the same surface, I FIRMLY believe the best technique for this is to drop the stick and let the stick bounce back up to the rest position.  I do NOT think a lift before the note is neccessary, and in fact I believe it is an unwise choice.  Just my opinion though.

Basically I am saying that you should start and end the stroke at the same height(the rest position).  If you are starting the stroke at 6 inches above the head(a good mf height) there is no need to lift the stick before you drop the stick downward.  

An experiment I suggest you use:  
Required material:  a ball that bounces, preferabley a tennis ball or basket ball

Bounce the ball with one hand on the ground.  Repeat a couple of times.  Now just dribble the ball as if you were playing basket ball.  Notice, how many times you carry the ball up higher before you toss it down.   Here's the number of times that happens:  ZERO!!  Reason, gravity.  This applies 100% to drumming.  It simply takes less energy to work with gravity than it does to work against gravity.  Tossing the stick down will creat an equal but opposite reaction, which means it will bounce right back up to where it was tossed from.  The pre-stroke lift does not affect the sound in any positive of negative way.  Audibly, one can NOT tell if there is a pre-stroke lift.  The pre-stroke lift serves no purpose in a series of notes played at the same dynamic level.  It is a waist of energy and time.

I also thought I would type up a good stick height to dynamic result chart:

1" = pp to ppp
3" = p
4" - 6" = mf
9" = f
12"= ff to fff

start from 6 inches, end at 6 inches, then your rest position is at 6 inches, which does eliminate the lift(as you said).  

Now at faster strokes, the rest is virtually eliminated yes.  However, the sticks still bounce back to the point that they started from.  

Thanks for the advice and encouragement. I'll give it a try (as much as I can - daily practice seems to elude me with a 2 year old and 6 month old at home!)

What you are describing is a PRACTICE technique ONLY .... which you even label it as. Most of us here are very familiar with what you've described. In fact, I first learned of this technique via Joe Morello. The ONLY reason you would use this PRACTICE technique is for PRACTICE; developing the muscles and learning to fly back. When you do this, your are supposed to keep the fingers wrapped around the stick so that you get a full work-out and really force all the muscles involved to be used.


I don't see where the original post for this thread implies about using a "practice" technique. If anything, the lifting the stick thing is advanced because it's not a normal playing method, but rather a way to develop muscles, etc. What I've described in my initial response is basic playing technique via Moeller Method; what someone would use in everyday playing. I don't know too many people that play with their sticks always pointing at the ceiling (well ... except for Felix ... see photo, click here!). If you want to work out the muscles ... that's great. But you can't play accents or fundamental rudiments this way ... only monophonic strokes, stickings and rhythmic figures. This technique is NOT for basic playing ... which is what I believe the opening post on this topic was addressing.

So Ratamatatt ... I'm not attacking you, but want to make it very clear for all those who may read this thread that what you have described is a valid PRACTICE technique, just like playing on a pillow would be another PRACTICE technique ... but neither are PLAYING techniques.

Just wanted to clarify all of this. If I misunderstood the original post, then I apologize.  

I resemble that remark.  At least my shirt is on.

Hey, at least it's better than this pic that we got from another source.  It actually looks as if I'm pleasuring myself!  (And how would I know what that looks like?  Ok, shut up, I said it for y'all).  Incredibly embarrassing.  It is amazing what people think looks cool.

I have to go thru 3 video tapes of my playing this weekend (our manager is a tyrant!).... this is going to be incredibly painful to sit through.

Who cares what stroke you are using...learn how to do it the "proper" way (whatever that is) but ultimately I think you are going to be yourself anyways.  Just make the music sound awesome and have some fun.  Try not to look like a geek and keep a good groove, keep your shirt on and make sure your makeup isn't running

I'm sorry, but I think you are out of your mind man. If that is a valid playing technique then I have learned nothing in all these years of playing. I don't know of any accomplished players who actually play like that.

If you need to play loud then you pick the sticks up, but you don't just sit there with the sticks pointing in the air. Come on now.

You're burning calories holding the sticks up like that ... so it's hardly a "resting position".

What you describe makes no sense. How can you play soft? You would have to throw the stick down really fast, stop just before it hits the drum, then make a little tap for the grace note of the flam. You keep talking about returning to the up position and making exceptions for soft strokes .... well how do you play a soft stroke QUICKLY if your sticks are always pointing up in a resting position. To me, that's absurd!

It's not a legitimate "playing" technique to keep your sticks pointing at the ceiling when you are not playing. That's what we are talking about. From the resting position you would move your sticks where they need to be in order to play.

I'd love for anyone to educate me in the validity of the "playing" technique Ratamatt has described. Please understand ... I do exactly what he has described for working on muscle strength and snapping the sticks. Helps me to be able raise my sticks very quickly for an accent ... and VERY helpful in developing shuffles such as the Texas Shuffle.

I've never seen anyone play with their sticks pointing straight as their resting position. Maybe people that ONLY play loud would use this ... but it's not something I've ever seen. Where not playing that "Whack A Mole" game at the arcade here ... we are playing a musical instrument.

I could sit here and argue my point  ... but I'm not wanting to get into all of this because to me it's absolutely silly. Sorry ... not trying to be disrespectful or insulting ... but I'm don't know what else to say.

Tell me who teaches like this, and give me some names of professional players that I might know who play like this. I want to learn what I'm missing here if this is indeed a valid playing technique. This whole concept goes against everything I've ever researched, studied, taught or done in my life. Sorry to be so resistant ... but it just seems crazy to me.