INTRODUCTION 40's Your Move is about achieving your maximum potential as a player. This book is the culmination of questions that have been asked of me globally during private teaching for 30 years, many masterclasses, clinics, large drum expos, and almost 40 years of professional Playing. The exercises contained herein are vignettes to spark fun and creativity. This book is for your hands and fect, on pad and drum set. It will help you beter understand the ability of your hands and feet. The title of this book means two things. Firs, it’s up to you. Your desire t be a better player is like a chess game. I offer the seed of an idea, a “first move.” Now react: it's your move. It is your choice alone. Second, it’s your movement—the way you move your body when you play. ‘The techniques in this book will challenge you to look at every detail of the way you play drums and question it, Drumming is a dance composed of our outward physical motions, which project our inner expression and emotion. hence the subtitle Motions and Emotions. Every drummer must find their own movement that suits the music they play and their own personal artistic expression. During my early studies, I accumulated a lot of information and developed theve exercises as a path to the capability of full artistic expression on the drums. These are not stylistic exercises; rather, they are applicable to all styles. My teachers, Ronnic Benedict, Al Miller, Joe Morello, Colin Bailey, and Jim Chapin, all shared a great amount of knowledge, and what they passed on to me is contained in a new form in this book. I would also like to acknowledge my classes with Joe Porearo, Shelly Manne, Louie Bellson, Roy Bums, John Guerin, Charlie Perry, Jim Keltner, and Ralph Humphrey. All of these great artists have shared much with me and showed me the classic techniques of drumming. I have redesigned and adapted these techniques from classical and rudimental origins and applied them to the modern drum set. Early drum-set performers used thinner sticks and single-ply heads and played in acoustic bands in acoustically designed rooms with little or no miking. Today, we usc heavier sticks, double-ply heads, amplified music in large halls (sometimes with poor acoustics), and the microscopic ear of close mikes on all of our drums! Thus we need to apply the tried-and-true concepts with a new eye toward the future. The drum set as an instrument is very young. I feel we are still ina very exciting formative period for this art form of drum-set playing. To find out where we are going, I believe we must find out where we came from. As the new millennium begins, we must push our art form forward even further. The things I learned from my teachers are historic techniques. I felt the time had come to document them in a proper way. You will notice there are illustrations in this baok. Gene Krupa, on being shown a manuscript for a book Joe Morello was working on, suggested Joe include pictures to clarify the techniques. Joe mentioned this to me long ago. Years later, I met wonderful artist Steve Leahy and remembered this idea of illustrations, so this book, years after Krupa’s comment, now includes illustrations to show the concepts. Making yourself better will take commitment, time, and perseverance. For the mast growth, you must take the path of most resistance. Practice what you do not know.‘Working on things you already know is maintenance. Although maintenance is important, it should constitute a smaller part of your practice routine. Practice ‘Tips: I. True practice is a re-programming process: Everyone has old habits; being aware of them is very important. These habits sometimes unknowingly hold us back from achieving our potential. Bad habits must be understood. Then, as the new technique is learned, constant forcement is necessary to build new habits. ‘Think of your bad habits as misinformation. First you must be aware of the old barriers; then break them down; then build new abilities. 2 Go slowly at first: Your mind lcams and reprograms habits by constant repetition. When building technique, you are reprogramming your muscle memory. Slow, consistent, correct strokes will ensure that you are reprogramming your old habits with moro effective ones. Practicing slowly actually speeds up the learning process! 3. Use a mirror: Practice in front of a full-length mirror to observe your form, You become the teacher and student! The student is in the mirror: carctully watch what is done and correct it with what you have leamed. Teaching the technique to yourself van only reinforce you to program it as a habit! ‘This goes for drum set and pad. Remember: The consistency of how you sit is directly related to the consistency of how you hit. Be sure to pay close altention to your posture as well. Sit up! 4. Use a watch / Importance of time lengths: Hang a watch or clock with a second hand next 10 your music stand. Assign a time length to each exercise. A minimum of one minute cach is recommended. This serves two purposes. First, you must focus on each pallem long enough (o assist the reprogramming process as you improve your technique. Repetition is crucial. Second, this will allow you to manage your daily schedule for maximum effectiveness. For instance, if you know you have 20 minutes to practice, you can choose exercises and know exactly bow long each one will take, hence enabling you to plan various effective practice routines throughout your weck. 5. Use a metronome: Vhe metronome is a very effective tool for fine-tuning your time feel, But also think of it as a gauge to measure your improvement. It may frustrate you as you begin learning each exercise, but it will also inspire you as you sce the tempo increase as you improvel 6, Use audio and video taping to chart your progress: Many of these concepts deal with movement. Taping yourself is the best way to check yourself. Although audio taping can tell you if patterns are being played smoothly, vidco taping is better for the overall picture: you can sce where the tension points are or pinpoint any other obstacles that may need work. 7. Stay relaxed at all times: You should strive for complete relaxation. Siop if you feel tension or strain during an exercise. There is a major difference between fension and intensity. Tension is the tightening of your muscles, Intensity is full commitment and total focus. You must be totally relaxed to achieve a high level of intensity.& Stretch and Strengthen: One of the goals of this book is to improve your technique by physically conditioning your muscles. You will stretch for flexibility and fluidity and strengthen for endurance and power. Although you should be very relaxed, rernember you can still push yourself. 9. Concentrate: Effective practice requires total concentration. There can be no distractions. If you practice at home, isolate yourself from the phone, other people, TV, and other interruptions, ‘Schedule a time to practice and devote full time to it. Staying focused solely on the practice material is the only way to master these techniques. Concentration is defined as “to fix one’s attention” or “to focus one’s thoughts.” Only with full concentration can you maximize the rewards of practice. 10. Be patient: Don’t try to speed your way through the material in this book. It will take time to master these concepts. Digest the material over time, and be patient with yourself II. Seek ont an instructor tor the personal guidance of your talent. Attend drum and percussion events in your area, including those featuring artists with whom you are unfamiliar. Ask questions and take advantage of every opportunity to learn. 12, Lefi-handed players: Many of the exercises in this book are intended to begin with the weaker hand for greater challenge and development. If you come across pattems that start with the left, you should reverse the sticking and start with your right. Note: Unless otherwise indicated, exercises are in 4/4 time. A.NOTE OF HISTORY: George Lawrence Stone lived from approximately 1880-1960. He leamed the Free Stroke technique from his father as it was passed down through generations of drummers. His book Stick Controf! was written with this technique in mind, Joe Morello was Stone’s protégé, to whom the book Accents and Rebounds is | dedicated. Joe taught me the Free Stroke in the mid-1970s. ! Sanford Augustus Moeller was also born in the 1880s and cied in the 1960s. He observed many drummers including old soldiers from the Civil War who, in their nineties, still had great power and speed for drumming. This is when Moeller began. to notice the correlation between motion and speed. Moeller is the SAM. referred ta in the dedication of Jim Chapin’s famous book, Advanced Techniques for the Modern Drurnmer. Jim learned this technique from Moeller in 1938, and then Jim taught it to me circa 1978. Jim was Moeller’s best student, to the point that when Gene Krupa at the height of his career requested to return to lessons, Moeller, who wasn't teaching anymore, recommended that Krupa study with Jim.ELEMENTS FOR THE “RANGE OF EXPRESSION” The overall goal of good technique is to achieve the widest degree of artistic expression possible, Real eslate professionals say the most important thing is location, location, location. Tn drumming technique, the most important thing is freedom, freedom, freedom! The ultimate goal in the improvement of technique is freedom of creativity—in the moment. The fewer dynamics and less control someone has, the more restricted they are in expressing themselves. The diagram on page 5 shows the potential of a full range of expressive tools. A higher level of dynamics and control brings more choices from soft to loud and from slow to fast. When we have control over what we are saying, we have more choices in our expression. Then we have the option of saying whatever we feel. Think of the difference between a whisper and a shout. ‘You can also go from speaking very slowly to speaking very fast. The greater the speed, the greater the excitement level and the efficiency of getting your point across. This is why we study technique-to achieve a full range of expression. The full range uses speed, control, power, and endurance, With the fullest range of expression, your choice of what is to be expressed is left only to your imagination. Many people don’t usc the full possible range. If a person speaks continuously at the same speed, and the volume of their voice does not change, they become monotonous. The same thing happens to drummers, trapping them in the middle of the graph shown on page 5. The graph shows the full range of what is possible in all styles of music. Many contemporary styles, if they are played exclusively, do not require the full range of possibilities. This is not ajudgment or critique of the music, just an observation of the stylistic requirements. There are certain players in certain genres that do not need the full range of the ‘graph for them to play that musical style effectively. Thus jazz, funk, or heavy metal players may have different needs to fill only their specific genre. This works fine for certain players. For many of today's top players, however, one style is not enough. They strive for the versatility to play all styles, hence the focus on the larger range of expression. The outer box shows the fill gamut. Remember that a chain is only as strong as its weakest link. Where do you fit in? By looking at the graph, try to find out where you belong and what you could improve. Perhaps you lack speed or have not spent time playing softly. This would limit the size of your personal box on the graph. The space outside your box is your unused potential. When you look al the greats, they aif have the full gamut. There are no limitations on their oxprossion. That is what this book is about! Itis possible, with lots of practice and listening, to develop a full complement of expressive tools. These elements include playing fast to slow and loud to soft with a variety of techniques. You may not want to play loudly often. That’s fine, but it’s advantageous to have the ability when it is needed by the music. Strive to perfect all the clements for the full range of expression! Your ability to grow and improve is in your mind. It ia up to you. These exercises are my moves to spark your rangeofexpression. Thisis what I mean when I say, “It’s your move!”“Range of Expression” - The purpose of technique: To express what you feel-when you feel it! + The goal: Constantly increase your vocabulary with elements including dynamics, control, spec endurance, and power. - Where do you fit in? Unused Potential Fast Soft Loud | Slow Unused Potential | | Goale of Technique: - Speed: to call upon when needed. - Control: to place the sticks wherever and whenever you want. - Power: to have the ability to build to the highest dynamic level. - Endurance: to play as long as the idea requires for its expression.SECTION 1: Technique— the Foundation O “ is called the Power Grip (Fig. 4) and is used for harder playing (medium to loud) and some faster figures using open double strokes. Marching and rudimental players and corps often use the Power Grip.4. Keep the palms facing down, elbows hanging loosely by your sides, and sit with proper posture. Tuck in your lower back. Good posture will relax your body and prepare you to maximize your movements and energy. 5. Imagine you have a small barrel on your lap so that your forearms can- not invade the space directly over the space between your legs (When sit- ting). When looking down at your forearm (in matched grip), it should be straight at the wrist. Don’t bend your wrist to either side (Fig. 5). Thisis the most relaxed natural position from which you are able to stretch the arm muscles to their fullest capabilities. Fig. 6 1, Your lead hand holds the stick in the matched-grip style. (\ fy 1, \ WEA 2. In the weaker hand, the stick rests in the webbing between the = SX) s/ thumb and index finger, This creates the fulcrum (Fig. 6). _ —y 3.This Open-Handed Exercise is meant to familiarize you with the feel of the grip and to strengthen your fulcrum. The paim faces sideways Try resting the stick in the fulcrum and holding the hand in this postion (Fig. 7). Then, start the stick bouncing and play relaxed strokes withthe hand remaining in this position. Rotate the wrist about the axis of the > forearm to create the stroke. Do not move the forearm up and down, Fig. 8 4. To complete the grip, bring the index finger over the stick to touch A at the first knuckle. The thumb should rest on the index finger. The middle finger extends over the stick, staying almost straight (but relax- Low ed). The ring finger and pinky curl under the stick and form a resting — place for it. Keep the palm facing sideways, and relax (Fig, 8)! It is very important to remember the palm should not face up. Use these points as a guide, but remember that the advice ofa teacher is highly recommended. Although there are many different types of positions, these are widely accepted. The above points have proven to be effective in many players, and they will, if practiced properly, put your hands in a relaxed natural position from which you can begin to build your technical ability. There are other useful techniques, such as finger technique, that are not explained here due to space constraints. The focus of this book is on wrist development and hand and arm movement.Matched Grip ft Germanic) Figure 2: Shock Absorber 7 Figure 3: Control Grip Figure 4: Power Grip Figure 5: Natural Position finger) {Second knuckle of index finged “Around the Barrel” (First knuctde of index Traditional Grip Figure 6: Figura 7: Figure 8: Fulcrum Open-Handed Exercise Traditional Grip S25 7 \t ST SG ha iTHE FREE STROKE ‘The Free Stroke technique is the foundation for the exercises in this book, It is based on principles of physics that will pot your hand movements in greater harmony with nature, This, in essence, means you will allow the stick to move as it wants to move (effectiveness), cot down on the necessary work you must exert (economic motion), and increase your relaxation and control (efficiency). I call these the “Three E's.” In order to find your voice of artistic expression, you need a full complement of abilities including: speed for excitement, controt for clarity and precision, endurance for duration of expression, and power for dynamics in contemporary music. The concepts behind the Free Stroke are employed by many of today’s top drummers. Although many of them do not use the term “Free Stroke” when they describe their technique, it becomes apparent that they are indeed cmploying the same principles. The basic idea was established by the great teachers George L.. Stone (author of Stick Control) and Billy Gladstone in the early part of the twentieth century. It was then carried on by Joe Morello. who taught me the technique in 1975. Another drummer who leamed this concept from Morello was Danny Gottlteb, who uses it wonderfully today. Full Stroke: Begin in the natural position (see General Technique on facing page), Hold the stick straight up, perpendicular to the floor, keeping the forearm parallel to the floor and the elbow close to your body. This position is called a full stroke. The stroke will come from your wrist. Do not throw the elbow out. Make sure your elbow is hanging in a naturally relaxed position. Relax and concentrate on your grip and the motion of the stick. Think ofa bouncing basketball and how it rebounds from the floor. Throw the stick down WITHOUT WINDING UP, and DON’T SQUEEZE! If you are holding the stick loosely at the correct balance point, it will bounce away from the drum after impact. LET IT GO, even if it flies out of your hand. At first, you may have to release your lower three fingers from the stick to get the rebound, This is acceptable. This motion is the beginning of the Free Stroke. Reset back to the original (upright) position and try this rebound again. Go slowly, isolating each stroke to fully analyze the motion. Do not play the strokes in sequence until you have become comfortable playing them ‘one at a time, or you may find that you are pulling the stick up instead of allowing it to bounce. Isolating the strokes in this manner allows you to analyze the motion so you can reprogram your technique. Your mind learns and reprograms habits by repetition, Slow, consistent, proper strokes will speed up the learning process and get the strake in your “muscle memory.” If you find thar the stick is not rebounding, you are probably either gripping the stick too tightly, applying tension at the bottom of your stroke, holding the stick down, not gnpping at the optimum balance point, or pulling up. Once you have practiced this rebound stroke, try playing a stroke ina similar fashion but this time continue to keep all your fingers relaxed around the stick. If you allow the stick to rebound, your hand should simply follow the stick up. DON’T PULL UP! The stick will have enough energy to rebound and end in the starting position. Work only in the downward direction, for only a brief instant to set the stick in motion. Think down! Make sure your elbows are relaxed at your side and your forearms are parallel with the ground. Don't raise the forearms; this is a common mistake. The full stroke height is achieved with the wrist Remember, imagine having a small barrel on your lap so your forearms cannot invade thespace directly over the space between your legs (when sitting). Your wrists should be relaxed and straight. Don’t bend your wrist to either side. ‘You must be completely relaxed to master the Free Stroke. Bending any joint in your body in an unorthodox or unnatural way will create tension, which will be reflected in your playing. Like a mime artist, you must be aware of every joint and be able to seyregate and isolate the movement of cach. If you feel any tension, stop immediately. I highly recommend that you seek out an expert teacher who has mastered this technique. Every detail of how you grip the stick and how you move play a part in the Free Stroke. Used properly, it will revolutionize your playing. Half and Low Strokes: The full stroke begins in the perpendicular position, with the stick 15 to 18 inches away from the playing surface. When you are comfortable with the full stroke, try the half stroke (5 to 9 inches from the head) and the fow stroke (1 to4 inches from the head). These lower stick heights require a great deal of concentration. Make sure you are not pulling up; use the rebound, even for low strokes! At the lower heights there may be more of a desire to pull up for the initial movement; remember, don ' pull up to go down! A good exercise is to take the opposite stick and place it over the stick that is about to play (parallel w the ground). If you hear the sound of the two sticks clicking together before you hear the sound of the drum or pad, then you pulled up! This is called the stick-over-stick exercise (Fig, 4, page 13). When practicing the Free Stroke, be sure to use all three heights. | have included illustrations to show the basic heights and their dynamics. I don’t get overly analytical about the dynamics to allow for personal expression. Start slowly; try a metronome marking of $2 BPM. This is all about movement--natural movement! It’s your movement that needs to be uncovered, your style to be discovered, and your talent nurtured! Now, it’s your move! EXERCISE FOR THE FREE STROKE The Exercise for the Free Stroke is designed to help you understand and execute the required motion, Begin in the Full Stroke position. Throw the stick down and let it rebound, as described above. This time leave your hand down while you let the stick rebound. The diagram on on the top of page 14 shows the motion of your hand. The fingers can come out to let the stick butt move. There is a slight follow-through motion involved. A fier impact, stay extremely relaxed. The hand continues to move down as the stick bounces up and comes to rest in the nook between the thumb and forefinger. At this point the downward motion stops, and the hand should end in the down position where it lands. Your hand should actually end below the level of the pad. You should feel only the down motion when playing the stroke. The stick will come back quickly on its own. Very little fuel produces maxirnur results! This will allow you to feel the full rebound capability of the stick while training your hand not to pull up when playing the Free Stroke. After practicing the exercise, play some Free Strokes ending in the Full Stroke position. The movement of the stick should feel the same.2 TO 50 WARM-UP EXERCISE The following is a warm-up exercise passed on to me by Joe Morello circa 1975. To master the Free Stroke and use it in your playing, all the mechanics described in the previous section must become so comfortable and familiar that they need not be thought about when playing. For this to happen, you may need to replace old, inefficient technique habits with new, more efficient and effective ones. This replacement process takes much concentrated practice. The 2 to 50 Warm-Up Exercise is designed to begin to make the Free Stroke a part of your playing by making it very familiar to the muscle memory of your bands. The actual exercise involves playing Free Strokes as quarter notes to a metronome. Set the metronome between 80 and 120 BPM. It should be SLOW in order for you to really feel the rebound of every stroke, and check your grip and motion to make sure they are correct. It is easiest to reprogram your muscles with good habits when playing slowly. When playing to the metronome, try to feel it as part of what you are playing. I suggest nof tapping your foot so that you can totally concentrate on the technique and the metronome. Begin by playing two measures uf quarter notes with the left hand followed by two measures with the right. You will then add two measures to each hand as you proceed. Thus you will play two measures left, two measures right, four measures left, four measures right, six measures left, six measures right, eight measures left, eight measures right, and so on, until you reach fifty measures left and fifty measures right. If you try this at the tempos indicated, you will realize that it is indeed very slow. Relax your whole body, concentrate on the motion and grip, and allow yourself to focus on the quarter-note pulse. If you play the whole exercise, it will take approximately 45-50 minutes. It is not only a Free Stroke exercise but also an exercise in physical and mental discipline. Try not to become distracted or lose count. If you do, start over! This will condition you to pay attention! If you are able to get through the whole thing, with correct grip, it will make the Free Stroke part of your normal playing motion and warm you up to maximum playing potential. It is a challenge, but its rewards are great. Completing the 2 to 50 Warm-Up Exercise will strengthen your discipline as well. One last suggestion: Practice the 2 to 50 Warm-Up Exercise in front of a full-length mirror to analyze your posture and stroke motion, Use the mirror to correct any inconsistencies in your grip. A teacher who is experienced with this technique can help point out the areas in which you need work. Remember, improving your technique is a long-term process thet requires tremendous focus. Once you are comfortable with the Free Stroke and have played through the 2 to 50 Warm-Up Exercise, refer to Stick Control by George L. Stone. In Stick Control, play each exercise on the page for one minute each using Full Strokes at a metronome marking between 40 and 60 BPM. You can proceed through the book, practicing one page pet week to condition your muscles with the Free Stroke.THE FREE STROKE: a Start from full stroke position. ‘STROKE HEIGHTS & DYNAMICS Forearm is parallel to ground. Think down. Throw down. | Don't pull up. Don't squeeze. | Let the stick bounce up. | Follow the stick up. End in full stroke position. Relax. Concentrate. Full Stroke: 15"-18" (y-gy) Think down... | 4 L YI i 7 Oe is Cy Hall Stroke: 5°-3" [xp-ayf] Saag ae << Low Stroke: 1"-4" (p-ppp) — Fig. 4: Stick-Over Stick Exercise for the full, half, and low stroke: If you hear the sticks click before the pad, you pulled up. Think down! | Shown here using the haff stroke. 3. Follow stick up..Exercise tor the Free Stroke Begin with e Full Stroke. Think down. Throw dowsn. Follow through with the stroke. Leave your hand down. Let the stick bounce up. Relax and concentrate. 1 Think down. 2. Theow down, 3B. Let stick come back f{X ) 2 to 50 Warm-Up Exercise An Application of the Free Stroke # of measures Use Full Strokes. Check grip and position frequently. Start w/ weaker hand. Play two measures of Full Strokes with each hand. Add two measures of quarter notes each time. Play in front of a mirror. MM J= 80-120 Relax. Concentrate.The Power Stroke & Variation on the Free Stroke —Joe Morello This technique bezins in the Full Stroke position. The wrist can only give so much power, ‘The Power Stroke will give a higher level of strength by using the larger muscles in the elbow. Feous on the elbow. The wrist does not generate the stroke; the elbow does. From the Full Sirake pasition, the elbow is thrown out (away from the body). At the same time, the tip of the stick moves down toward the drum. The elbow begins the motion and the wrist follows. Then the stick reacts to the motion of the wrist. As the elbow relaxes and returns to the rest position, the wrist reacts back to Full Stroke position. This stroke happens within one second-a flash of power. The elbow and the biceps are involved behind the stroke, hence the greater amount of powcr. ‘This is not the kind of stroke you will use often, but it is an important reflex exercise so that when power is nceded, and the stick is in full height, you are prepared to use the correct muscles and technique for the best expression. ‘The Power Stroke ts an excellent calisthenic exercise. As a performance stroke, it is usctul when playing several consecutive hand-to-hand accents. It is similar to what is referred to as reflex awareness in murtial arts it helps in making fast movement decisions. This type of reflex action is very important in modem dnum-set movement. Use pages 5. 6, and 7 of Stick Control to practice the Power Stroke. Set the metronome very slow in order to return to the starting position between cach stroke. Itwill help strengthen larger muscles. Find your own metronome marking to focus and sharpen this movement. f~ Begin in full stroke position. Elbow generates the stroke. Elbow is thrown out. Wrist reacts to motion. Stick hits pad. Elbow returns to relaxed position. End in full stroke position. Relax. Concentrate.THE MOELLER STROKE The Moeller Stroke, like the Free Stroke, is a concept employed by many of today's top drummers. Think of it as turbo mode. When you need that extra power ina race car, you kick in the turbo. The Moeller Stroke is turbo mode for the drummer! Many players use a version of the Moeller Stroke that they have discovered on their own without formal instruction. In fact, Sanford Moeller did not invent this stroke. He simply observed many of the top professional drummers of his time and noticed that they all seemed to use a whipping motion that created & fluid motion and relaxed sound. The key thing he noticed is that power comes from motion, not muscular force. ‘The Moeller Stroke is a whip stroke that, while feeling relaxed and smooth, creates a great deal of energy when played. It builds on the relaxation and rebound leamed in the Froe Stroke, so I recommend that you learn the Free Stroke first. The Moeller Stroke 1s broken down into three heights, which create three distinct levels of power and volume. They are the Full, Half; and Low Moeller. These three levels are my own designs to correlate with the changing state of modern drumming. Years ago, drummers played on thin heads with thin sticks with an acoustic band in a room designed for acoustic performance. Today, drummers are playing with bigger sticks on two-ply heads, with electric instruments and amps, and sometimes in rooms as large as arenas! A wide range of expressive muscular capability is needed. 1, Low Moeller In the Low Moeller, the wrist generates the stroke. It is begun in the Low Stroke position Imagine yourself as a marioncttc, a puppet manipulated with strings from above. When the puppeteer lifts the string tied around the marionette’s wrist, the wrist riscs, but the elbow stays down, and the hand droops. This is the beginning motion for the Moeller Stroke. Practice raising the wrist in this relaxed, drooping shape. You can also think of the profile of a cobra, with raised hood, preparing to strike. Note that when raising the wrist in this fashion, the bead of the drumstick does not move-it stays in low stroke position, two to four inches above the playing surface. Think of the tip of the stick as having 1000 pounds of drag preventing you from liNing it! Once you have raised the wrist, whip the wrist back down to its starting position. This will cause the hand to quickly rise and fall, also with a whipping motion, bringing the stick with it and creating a high-energy stroke. The whole motion should be performed seamlessly, from relaxed low stroke all the way through the whip. The stick should move quickly up and down and end in the starting position. This is not an up-and-down motion. Think down; as soon as you begin, it's over! Do nos throw the elbow out to achieve the whip for the Low Moeller, The elbow moves only in reaction to the wrist. Some great drummers who use the Low Moeller are Steve Gadd, Vinnie Colauita, Steve Smith, and Jeff Porcaro. All of their videos are useful for observing this technique. Relaxation is the key to the Moeller Stroke. When whipping the wrist, a great deal of energy is rcleascd within the stroke without the player squeezing and slamming hard on the drum. This is the secret to playing powerfully while keeping the hands and anns free fromcalluses, shock injuries, and repetitive strains. You should fee! NO strain while playing the Moeller Stroke. Practice in front of a mirror and make sure al! the muscles in your arms siay relaxed. Use only enough energy to hold the stick in your hand. Don't squeeze the stiek, and observe the other technique issues discussed under the Free Stroke. Remember to train both hands equally with this new stroke, always beginning your practice session with the weaker hand. Use the flipbook images (at the top right-hand comer of pages 86 to 24) along with the illustrations for Further clarification. 2. Malf MocHter More Are + More Muscle — More Power “The Half Moclicr follows from the Low Mocller, but she clhow generates the stroke. Begin by lifting the elbow outward first, and then the wrist follows, executing the Low Moeller snap. The two motions should join together seamlessly to create a more powerlul stioke that starts from the elbow. Steve Smith clearly uses a motion like this in his playing Remember to end in the natural starting position. 3. Full Moeller Highest Arc + Largest Muscles = Most Power The Full Moeller is the ultimate in power. This stroke is used for the loudest and most intense playing possible. It is based on the Half Moeller, but the stick swings above your head with a higher are for more power. Some rock drummers such as Kenny Aronoff and Stewart Copeland use this stroke to generate lots of energy in their playing. Begin by lifting out with the elbow, and continue raising the arm by incorporating the shoulder muscles. The stick rises in a whipping motion and raises above the head. It then comes down with a tremendously pawerfl stroke. Be sure to think down since there is only one motion; it is not two strokes (up and down) but one downward motion. Remember to relax and maintain your grip; don’t sacrifice these things while playing the exaggerated whip or you will be left with a simple caveman-siyle stroke. The Full Moeller still applies the samc physical principles as the Low Moeller, but a high are with larger muscles means more power! Once you have learned this stroke, observe as many drummers as you can and notice how many use a whipping motion. You can see bow this can benefit rock playing~the Moeler Stroke is perfect for solid backbeats while staying fully relaxed, and it also acids tremendous Quilty to the dance of the drummer’s body while grooving. For further explanation and demonstration, see Jim Chapin’s video, Speed, Power, Control, Endurance, available fiom Warner Bros, Publications.weeping ewes LOW MOELLER: Uses whipping motion. Imaginary puppet string lifts wrist. Wrist moves up first! Tip of stick follows. End in natural starting position. Note: Low Moeller is basic Moeller motion; learn Low before Half or Full Moeller. HALF MOELLER: 1 Elbow lifts out first. Wrist follows. Elbow drops; wrist follows. Tip of stick hits with whip motion. End in natural starting position. FULL MOELLER: 1 2 Elbow lifts out first; highest motion. Hand lifts above head. Wrist follows. ; _ Shoulder muscles involved. Zz N Full range of arm motion. Ps \\ Stick whips over head. - Whip down for extreme power. “ \ End in natural starting position.PUMPING MOTION ‘Once you understand the Low Moeller Stroke, you are ready to lear the Pumping Motion, which puts the Moeller Stroke into use for a much wider range of playing applications, The Pumping Motion involves playing multiple strokes using, the Moeller whip. The energy created in the Moeller Stroke will propel the following strokes, thereby allowing you to work one time and produce multiple sounds/strokes. Your control, speed, endurance, and overall facility will improve dramatically. If you were to play a Low Moeller Stroke and then Ict the stick rebound in a relaxed. fashion until it came to rest, you would see that the Moeller Stroke produces enough energy to propel two, three, four, or even five free taps or controlled bounces. What a great energy- conservation device for your hands! Start the Pumping, Motion with taplets (Ex. A on page 20) by playing a Low Moeller Stroke followed by two Low Free Strokes. Then stop. Go slowly al first; try a metronome marking of 58 BPM. You should use minimal energy from the wrist to create the two Low Free Strokes, and they will be lower in volume than the high-powered Low Moeller Stroke preceding them. Notice how the momentum from the Moeller Stroke carries into the following strokes. Once you are comfortable with triplets, then move to Iéth notes (Ex. B on page 20). Gradually, you will speed up the process, and the Moeller whip will blend seamlessly into the following Low Strokes, which will require minimal cnergy from the wrist, and which can be controlicd with the fingers if necessary. If you stay relaxed as you gradually build up the speed, you can get it as fast as 120 BPM. But you must stay relaxed or you will defeat the purpose of the Pumping Motion. The concept here is: work once and create three or four controlled bounces (controlled bounce = tap stroke that uses the momentum of the rebounding principal stroke). Begin with the weaker hand. Set your metronome at a comfortable tempo, and play five minutes nonstop with tbe weaker hand, five minutes nonstop with the strong, and then five minutes with both hands playing perfectly together (not flamming). Continue this for 30 continuous minutes to train and relax your hands. Use the mirror to observe the physics of the technique. The whipping motion should look basically the way you originally leaned it. However, when playing the Pumping Motion, you will notice that the droop of the stick is not as pronounced as when playing single Moeller strokes (e.g., as when playing backbeats in a rock song). A common mistake is to add little extras to the stroke when moving on to the Pumping Motion. It is crucial that the Moeller Stroke is clearly understood before atterapting the Pumping Motion or neither will work correctly. The low tap strokes must use a controlled bounce. The stick wants to bounce--we are just applying technique in harmony with nature instead of fighting it. Practice the Pumping Motion at various speeds and use it as a warm-up before performing. It works great for loosening up the muscles in forearms before playing. Stop playing at the slightest hint of tension. Tension and pain are telling you that you are doing something unnatural. The Free Stroke/Moeller system uses the rebound, and there can be no rebound unless there is relaxation. The Pumping Motion, once mastered, will allow you to play faster and more relaxed with an amazing amount of control.Pe ere ee eer erry An Application of the Moeller Stroke A &} B eae Down Tap Up Down Tap Tap Up (wo Controlted Bounces} (Three Controlied Bounces} mm = 58-120 Things to keep in mind: 1. With Left - Start slow 2. With Right - Relax 3. Together - Tap strokes use rebound... free tap/controlled bounce Practice as follows-five minutes each exercise: 1A [triplats LH), 2A (triplets RH), 3A (triplets together) 18 (16ths LH], 2B (16ths RH), 3B (716ths together) The motion for this application of the Moeller Stroke is basically the same as that of the Low Moeller. Inthe Pumping Motion, the motion is continuous, allowing several strokes in a row.UPSTROKES AND DOWNSTROKES ‘The Free Stroke and the Mocller Stroke are basic approaches to natural motion on the drums. These two strokes can be applicd to any percussion instrument played with sticks or mallets--whether classical, rudimental, world, or drum sct. For them to work, however, they must be earned with a system that enables the player to exceute any combination of stroke volumes and accents since that is how music is played. This section concems itscif with the execution of sequential stokes of different heights. There are two types of these. Upstrokes (also know Pull-Outs), where a softer stroke is followed by a louder stroke, and Downstrokes (also known as Controt Strokes), where a louder stroke is followed by a softer stroke. in combination, Downstrokes and Upstrokes can be used to execute any possible rhythm played on a percussion instrument. These are my interpretations of the classic techiiques taught to me by my teachers, but designed with the modern drum set in minci Until now, you have practiced the Free Stroke as full, half, and low sirokes~but not as combinations of the three. Pull-Outs and Control Strokes are exercises thal require you to play full, half, and low strokes within the same rhythm. The Free Stroke allovs the stick {o rebound to its full height after the stroke. When performing, however. it is not always possible or practical to allow this to happen, so we need a system to control the rebound and make it work in any rhythm we choose. Keep in mind that while you will be learning to control the rebound of the s imperative to stay as relaxed as possible and observe all the proper technique requirements discussed under the Free Stroke. Downstrokes and Upstrokes are divided into two categories: Formal and Jnformal. Formal strokes are played from the wrist, using the Free Stroke technique. Formal playing is used in classical/orchestral playing and in both traditional rudimental drumming and modern drum corps. Informal technique is mainly uscd on the drum set, and it applies the Moeller method. Both Downstrokes and Upstrokes in the Informal method usually start and end low since this is usually the starting position when playing the drum set. George L. Stone’s book Accents & Rebounds (the follow-up to Stick Control) is an excellent resource for working with Downstrokes and Upstrokes. Joe Morello’s book Master Studies is a must to perfect and prepare yourself to apply this technique ‘o your playing, Ted Reed’s Syncopation (pages 52 on) can also be used (mm = 40). Upstrokes and Downstrokes give you a range of creative options to expand your range of expression. UPSTROKES: FORMAL PULL-OUTS An Upstroke is performed when a low or half stroke is followed by a higher stroke. The combinations are: Low to Full, Half to Full, and Low to Half. To play a Formal Pull-Out Upstroke, start at the appropriate stick height and execute the first specilied stroke, allowing the full rebound to occur. Let the momentum of the rebound help you bring the stick up past its original height to the height of the following Half or Full stroke. You should stay extremely relaxed so that your hand is rising to the second stick height and the stick is following it. Try not to think about pulling up. This will require a great deal of practice and concentration to master.especially useful when playing ‘The Formal Pull-Out is played only from the wrist. I slowly and there is more space between the notes to be played. It is also appropriate when a great deal of accent power is not needed. I is a very controlled motion and. hence, more appropriate for these situations. Because the Formal Pull-Out uses the wrist only. you will use the wrist strength developed by the Free Stroke when playing it. Use the exercises on page 26 to practice Formal Pull-Outs. and refer to the Pull-Out illustrations (page 25) for diagrams of the correct, motion for these Upstrokes. UPSTROKES: INFORMAL PULL-OUTS The Moeller method not only creates a great deal of energy for rebounds, but it also enables the drummer to execute accent patterns that are difficult or impossible with normal wrist technique. Many drummers work too hard aad still don’t get maximum results. The movement of the Informal Pull-Out creates great technical possibility with ease and comfort. The Informal Pull-Out is a single motion that contains two strokes. It consists of a Moeller Stroke with a tap built into the imitial movement of the wrist. The sound is like a flam played with one hand. For modem drum set, it alfords great fluidity of motion and creates what I call the “drummer's dance”--your personal style of how you move around the drums. In contemporary drumming this is very important since dancing is inspired by the feel of the tune. People must feel the groove in order to move. So the drummer should dance to the groove first. The Informal Pull-Out will help you find your own dance. Play several Low Moeller Strokes, staying relaxed, and observe your motion in the mirror. Think of the string around your wrist mentioned in the Moeller Stroke section, You are a puppet reacting to the pulling of the string. In the standard Moeller Stroke. the tip of the stick stays in place as the wrist riscs to perform the whip. For the Pull-Out, allow the tip of the stick to drop onto the head while you raise the wrist. This will create a low tap that is built into the rising motion of the wrist. Continue the Low Moeller motion in a smooth manner as you normally would. The low tap will then be followed by the accented whip stroke. You ate thus pulling out an aceent on the second tap of a double stroke (hence the open one-hand fam). Begin and end in the natural low position and think of the Pull-Out as one motion--you are simply “stealing” that first tap. Much of what you play on the drum set in modern music will use this technique. Learn the Informal Pull-Out slowly to make sure you are not deviating from the original properties of the Moeller Stroke. Practice on your pad. playing each exercise until it is smooth and clean. Examples A-D (page 26) will allow you to play Pull-Outs in different rhythms with accents on different parts of the beat. It will take some time to get comfortable with the idea of replacing two standard motions with this one new, elficicnt, and economic motion. Notice the slow metronome markings for the exercise. When you understand the movement of the Informal Pull-Out, you wall play these rhythms with ease and comtort. As you spced up, relax even more, and remember that relaxation and speed go together! Once you are comfortable with the Informal Pull-Out, try it in various rhythms, mixing the examples with your own ideas. Try playing grooves that contain a ghosted snare note right beforean accent, and you will hear the magic of the Informal Pull-Out at work! Artists such as Steve Gadd and David Garibaldi hear accents mixed into their grooves and use this technique to execute them. These accents add to the flow and dynamics of the performance. DOWNSTROKES: FORMAL CONTROL STROKES Formal Control Strokes are an application of the Free Stroke. They are used if you are playing slowly and very powerful accents are not necessary. A Downstroke occurs when a higher stroke is played before a lower one. They are so named because the stick cannot be allowed to rebound to its full height if you want to play a softer/lower stroke next. You must set up for the next stroke during the rehound of the previous stoke. The possibilities arc: full to low, full to half, and half to low. To execute a Downstroke. simply play the higher stroke as you nommally would, and stop the rebound at the height of the following stroke--without rension! Thus, fora full to half stroke, you would play a full stroke and allow the stick to rchound until if reaches, approximately 8" (the height of a half stroke). You would then gently stop the stick’s rebound and come to rest in the position of a half stroke. Just accept the stick at the lower height. Itis not necessary lo squeeze the stick or become tense to execute this. Try this process using the combinations on page 28, Be sure to practice Formal Control Strokes slowly at first DOWNSTROKES: INFORMAL CONTROL STROKES Informal Control Strokes use the Moeller technique. They include the same height combinations as Formal Control Strokes: full to half, full to low, and half to low. Informal Control Strokes offer more fluidity and ease of motion than Formal Control Strokes. All the Informal strokes start low, since this is usually the starting hand position on the drum set. A Moeller whip stroke is used to execute the first stroke, and then the energy of the Moeller is used to create and sustain the second stroke at a lower height. The second stroke does not itself have its own Moeller Stroke; it is played using the energy of the initial stroke. Stay very relaxed during the initial stroke since any tension will destroy the rebound necessary for the second stroke. Don’t squeeze the sticks, and accept the second stroke after the first. Use the Control Strokes diagrams and exercises (pages 27-28) to practice these and examine the correct hand positions. This reinforces the dance movement on the drum set.UpstrokKes @& Downstrokes Upstroke: A soft stroke followed by a louder stroke. Downstreke: A loud stroke followed by a softer stroke. Formal: incorporates Free Strokes. From the wrist onty, for slower passages and rudimental or classical playing Informal: Incorporates Moeller Strokes. Used for fastar passages for drum-set. applications. Include Pumping Motion. THE FOLLOWING COMBINATIONS FACILITATE ALL POSSIBLE STROKE PATTERNS & POSSIBILITIES IN DRUMMING: Upstrokes “Pull-Outs” (soft to loud) Farmak Informal: Low to Full Low to Full Half to Full Half to Full Low to Half Low to Half Downstrokes “Control Strokes” | (loud to soft) Formal: Informal: Full to Half Full to Half Full to Low Full to Low Half to Low Half to Low Primary Strokes Full to Full Half to Half Low to LowUpstrokes: Pull-Outs Motion Diagrams for Formal Pull-Outs Half to Full Low to Full Low to Half Motion Diagrams for Informal Pull-Outs Half to Full: 1. start at half 2. whip to full (playing half stroke) 3. end low Low to Full: 1, start low 2. whip to full (steal” tap) 3. end low Low to Half: 1, start low 2. whip to half (‘steal” tap) 3. end low &§ & vlc D wepouw: Unce. Pull Outs Metronome marking J = 40-76 Practice slowly, on pod. Play each mensure until smooth and clean. Play each pattern dx with no accents, then 4x with accents. Practice using both Formal and Informal PulLOuts. ‘Suggestion: Play non-accents as low strokes, accents as full strokes. on bee fp Py | Roll RRLL RRLL LLRR LLRR ~ Inverted I: Jdad | i Open Rall My RLLR RLLR LRRL ERRL 3 ¥ , : vows fey py | RLL LLR LRR RRL a 3 > > Double . | a . aeutke |: 22) « I: 22) «| i RLLR LRRL 3 > mt: LRL RLRWUVWIIDULURGDS. WUlIuUlur GuruUKtc> Motion Diagrams for Formal Control Strokes Using the wrist & Free Stroke Full to Half & < Full to Low 2? 1 Half to Low Motion Diagrams for Informal Control Strokes Starting low (drumset position) & using the Moeller eystam Full to Half 1. start low 2. whip to full 3. use momentum; play half stroke —— 4. end low Full to Low 1, start low 2. whip to full v 3, use momentum; = es play low stroke 4. end low Half to Low 1. start low 2. whip to half 3. use momentum; play low stroke 4, end lowWwWUWVVE ID URS. Control Strokes Metronome marking J = 40-76 Practice slowly, on ped. Play each measure until smooth and clean. Play each pattern 4x with no accents, then 4x with accents. Practice using boch Formal and Informal Control Strokes. Suggestion: Play non-eccents as low strokes, accents as full strokes. = Open ii ‘| A Roll RRLL RRLL LLRR LLRR > > >> asc bity pay =. RLLR RLLR RLLR LRRL LRRL LRRL = - 3 = > > C Triplets Ik JJ ‘l lk |: J] RLL LLR LRL LRR RRL RLR [7 4 D aetroke ee RRLL RRLL LLERR LLRR Now mix the patterns from open roll into double 4-stroke into triplets. Use your own combinations.wpPowu WVNRGSD CAHIS EUV E ISS! WNRGD. Application Exercises ‘Once you have become comfortable with Pull-Outs and Control Strokes, you can begin to wot on combinations of the two. These exercises are all variations on an accent pattern of two beats of sixteenth notes. As the accents move, it will be necessary to play various Upstrokes and Downstrokes to execute the rhythms. Practice with the accents as full strokes and the non-accents as low strokes, I suggest this as the most effective beginning to understand the strokes. In Exercise B, the first right would be a full stroke, rebounding to full height (since the next right stroke is also full). The second right would be a full-to-low Downstroke to put you in position for the third right, which isa low stroke. The last right stroke is a low-to-full Upstroke to put you back in full stroke position as the measure repeats. You must analyze cach measure in this way to locate the Upstrokes and Downstrokes, Play slowly and carefully. Once mastered, Pull-Outs and Control Strokes allow you to play any series of accents and any rhythm comfortably. Use the George L. Stone book Accents & Rebounds for further study. Stone actually wrote that book for this purpose but did not explain Upstrokes and Downstrokes in the text. Metronome marking J = 40-76 Use the patterns below to practice Control Strokes and PullOuts in combination. Practice slowly. on pad: play each measure until smooth and clean. Concentrate appropriate mations for Control Strokes and PullOuts. Practice using both Formal and Informal strokes. " RLLR LRRL Use this rhythm with the following accent patterns; use full and low strokes pee arate eee A |r RLLR LRRL || B |; RLr ures | neowa | mobos | RLLR i {| Lpatae LCoen A Put A LPusbOut L Contra E |:rmurire:| F RFDFR Redos ee ri Use other rhythms with accents to further experiment with Up/Down Strokes. Try peges 5, 6, and 7 of Stick Control and place accents anyuhere.DEUIHUIN <—: Performance Exercises for Drum Set and Pad Hands and Feet Drum-Set Key All drum-set patterns in this book are notated with the following three- line staff system: | BASS DRUM: SNARE DRUM: a ae Snate Drum—* 4 Cross Stick WLHAT: Halt Open Hi Hat \ Closed Hi-ttat Se CMR d Open Hietlat ——+ 0 = ==2 = Ride Cymbal: —7 a Hi-Hat = A 4 d Crash Cymbal ‘lose with foot ——» pOMS: splash with foot > ef eee 4COMBINATION EXERCISES ‘To improve our groove, a locked-in feeling must happen with our arms and legs. When it is working smoothly, we enter the pocket of the groove, hence the term “in the pocket.” [ developed this exercise to further focus on the locking-in of the different combinations played by our hands and feet. Combination Exercises are patterns that are played simultaneously by two, three, or four limbs. They are designed to improve your overall control of the drum set. Numbers I-11 listed in the box on the bottom of page 32 represent all the combinations you can play together with your hands and fect. There are three rhythmic examples: A, B, and C. Begin with Combination 1 (RH, LH). Play Rhythm A using the right and left hands together. Repeat this for at least one minute without stopping. Then continue on to Rhythms B and C, playing each several times as well. Then try Combination 2 (RH, RF) and proceed through Rhythms A, B, and C. Continue this process until you have played the rhythms using all 11 combinations. Then, practice the same sequence (A1, B1, C1, A2, B2, C2, etc.) for one minute cach without stopping. This would make a 33-minute nonstop exercise! If you practice these every day, you will fecl improved strength in all of your limbs, and you will sense a higher level of comfort and balance when grooving. Play in a relaxed manner. When playing triplets or sixteenths, you may need to “kick in” the Moeller technique with accents on the downbeats. Play flat-footed, heels-down technique on the pedals. This will strengthen your ankle muscles and create an open “splash” sound when you play your hi-hat pedal. Start very slowly, and play cleanly. Never speed up during this exercise. When you feel comfortable with one tempo, stop and change to a faster tempo. Here are more things to keep in mind: 4. Sound Combinations: Choose different sound surfaces on the drum set each time you play the exercise. This will help broaden your sound combination palette and open you up to sounds that you may have not yet used to their maximum effectiveness. For example, try Example A with right hand on floor tom and left hand on snare. 2. Precision: Make sure that all sound surfaces hit at exactly the same time. The smallest flam in the sound will disrupt the flow of the groove. Pay careful attention to the lefl-fuot hi-hat--make sure it splashes in exact unison with the other limbs. Record or videotape yourself to check your progress. 3. Balance of Sound: When playing combinations, make sure the volume ofall sounds is equal. Many drummers will favor their stronger limbs. You can use the 11 combinations with any book of rhythms. For example, try Modera Reading Text by Louie Bellson and Gil Breines or Syncopation by Ted Reed.