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    Hawkeye Drumline Tenors Grip

    Uploaded by

    Jamess Minor
    This document provides instructions and guidelines for tenor drum grip, stroke technique, stick positions, playing zones, and movement around the drums. It emphasizes using a balanced grip with the fulcrum between the thumb and middle finger. The stroke is primarily made with the wrist but involves the forearm and fingers as well. Players are instructed to keep sticks parallel when not playing and to impact each drum head about 2 inches from the rim. Movement between drums should not change the technique in the hands and wrists, which should turn straight up and down rather than outward.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Hawkeye Drumline Tenors Grip

    Uploaded by

    Jamess Minor
    35 views3 pages
    This document provides instructions and guidelines for tenor drum grip, stroke technique, stick positions, playing zones, and movement around the drums. It emphasizes using a balanced grip with the fulcrum between the thumb and middle finger. The stroke is primarily made with the wrist but involves the forearm and fingers as well. Players are instructed to keep sticks parallel when not playing and to impact each drum head about 2 inches from the rim. Movement between drums should not change the technique in the hands and wrists, which should turn straight up and down rather than outward.

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    Tenor

    Original Title

    hawkeye_drumline_tenor_2019_0

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    This document provides instructions and guidelines for tenor drum grip, stroke technique, stick positions, playing zones, and movement around the drums. It emphasizes using a balanced grip with the fulcrum between the thumb and middle finger. The stroke is primarily made with the wrist but involves the forearm and fingers as well. Players are instructed to keep sticks parallel when not playing and to impact each drum head about 2 inches from the rim. Movement between drums should not change the technique in the hands and wrists, which should turn straight up and down rather than outward.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    35 views3 pages

    Hawkeye Drumline Tenors Grip

    Uploaded by

    Jamess Minor
    This document provides instructions and guidelines for tenor drum grip, stroke technique, stick positions, playing zones, and movement around the drums. It emphasizes using a balanced grip with the fulcrum between the thumb and middle finger. The stroke is primarily made with the wrist but involves the forearm and fingers as well. Players are instructed to keep sticks parallel when not playing and to impact each drum head about 2 inches from the rim. Movement between drums should not change the technique in the hands and wrists, which should turn straight up and down rather than outward.

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    © All Rights Reserved
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    Hawkeye Drumline Tenors 

     
    Grip 
    The fulcrum point is located between the thumb and the index finger or 
    middle finger. This is the point from which the stick pivots in your hand. 
    The rest of the fingers should be wrapped naturally around the stick. They 
    should be loose and relaxed but can never leave the stick. In order to 
    employ the fingers properly, the stick should lay through the fleshy part of 
    your palm opposite your thumb. Lastly, the palm of your hand should not 
    be flat to the drum (German grip) nor should the thumb be completely on 
    top of the stick (French grip). The crease created between the thumb and 
    the index finger should be turned to an approximate 45 degree angle. This 
    offers the best benefits from both the German grip (full wrist turn) and 
    French grip (easy engagement of the fingers) 
     

    Stroke 
    Our strokes are primarily made with the wrist; however, they aren’t isolated 
    to JUST the wrist. The forearm does play a role in contributing weight to 
    the stroke, and fingers need to come into play during certain sticking 
    patterns, like doubles. Don’t worry yourself with how much arm or how 
    much wrist to use. The primary goal is to make it a natural motion that 
    uses a harmony of wrist, forearms, and fingers. The music will dictate how 
    much of each is necessary at any given time. 
    Focus on allowing the stick to vibrate in the hand. Squeezing the stick too 
    tightly will choke off the sound and diminish sound quality. If you notice 
    yourself wanting to squeeze or choke off the stick, consider eliminating 
    pressure from the forefinger and shifting a little bit of fulcrum control to 
    the middle finger. This will help to maintain a natural stroke. 
    There should be a weight to your strokes which will produce a big, full 
    sound. Make the sticks feel heavy in your hands. To achieve this, it’s 
    important to realize that higher volumes will typically require a higher 
    stroke velocity. This is partly to ensure you’re producing a big sound, but 
    also to propel the stick so that it rebounds back to its full stroke position. 
    A little bit of arm in your stroke isn’t a bad thing. Aim for achieving a big, 
    full, round sound at all dynamic levels. 
     
    Sticks In  
    When you are not playing, the sticks will be brought in to this position. 
    Notice that the thumb is behind the mallet and the mallet head or “bead” 
    is lined up with the end of the other mallet. This will be the same for both 
    hands, and will be the same no matter what implement we use until you 
    are told otherwise. The sticks will remain parallel to the playing surface. 
    Sticks will come out two beats before the attack, and will return to the 
    “sticks in” position one beat after the release.  
     
     
     
     
    Playing Zones  

     
     
    Each circle is the point of impact of each mallet. I’ve given an L for left and 
    an R for right to notate the stick positions on drum 3 and drum 4. We want 
    to impact the head on one concentric circle, like a timpanist. We want to 
    be off center, approximately 2 inches from the rim, or 1.5 inches from the 
    bearing edge. This area produces the most resonant sound and is ideal 
    for projection and tone. The six-inch drums are played just off of center as 
    well. These are the zones for playing on more than two notes or just a 
    single note on one drum.  
     
    Movement  
    Regarding movement around the drums: “we play many drums the way we 
    play one drum.” You’ll be hearing this a lot. You can improve yourself 
    anytime you see a difference (any difference) in the way you approach the 
    drum on the move from when you play the same passage on one drum. 
    Attack these differences, because they allow more room for error and 
    complicate your life as a tenor drummer. When playing sweeps, one must 
    understand that movement around the drums does not change the 
    technique in the hands. The arms are used merely as a transportation 
    device for the wrists. The technique used on one drum is applied to all 
    drums, with the arms simply moving the hands and wrists to the correct 
    playing area. This is another one of those “make or break” techniques that 
    must be understood or learned to be a member of the quad line. 
     
    Wrist Turn Consistency  
    One of the things quad drummers do not usually do very well is consistent 
    wrist turn while moving between drums. You should turn your wrists 
    straight up and down. Many students will turn their wrists outward in 
    preparation for a moving stroke (such as a sweep or scrape). This is a BAD 
    IDEA. Turning our wrists out or over forces us to learn an infinite number 
    of techniques. Instead, we should play around the drums as we would on 
    one drum. You would never turn your wrists out like this on drum 2, why 
    would you ever do it during an around passage? 

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