The correct grip of drum sticks. All about drum chopsticks
Unfortunately, due to certain reasons, there are no well-established terminology in Russian, dedicated game on shock tools. I propose to negotiate the translation of the corresponding terms and use them, at least in communication on the site forum, the site of drummers.
Grip - Capture, FulCrum - Castle (Eng. "Point of rotation" - place of fixation of sticks with two fingers). For example, under the Traditional Grip we understand the "traditional grip", and not the "traditional castle" or "traditional production".
This article is mostly translated from several authoritative sources (usually classical American textbooks). Nuances of technology can always be asked on the forum of Tigrana Panteleeva's teacher -.
There are many wand capture options - each of their advantages and purpose, depending on the performed music, tools and features of the physiology of a particular drummer. Capture in the execution of fractions may differ from the capture in the execution of the twos. Many professional drummers use different types Captures for one song.
Strictly speaking, there are two types of capture:
1) Traditional (TRADITIONAL, CONVENTIONAL, ORTHODOX, RUDIMENTAL GRIP). The left hand holds a stick differently than the right (in the left the opposite).
2) Symmetric grip (Matched Grip). The left and right hand hold the wand equally.
Symmetric grip (Other names are parallel and pair).
Symmetrical capture is more common. Therefore, first we will analyze the symmetric capture and its options: German (palms look down), French (thumb top, palm almost perpendicular to the floor) and American (average position).
The first lesson from a qualified teacher begins on video school, drummer Jojo Mayer "A, where he recommends finding the point of balance of the stick. The place of grip, in which the wand has the most free rebound (usually about 12 centimeters from the thick end of the stick - approx. site - Forum drummers).
At the found point of the balance, heal the wand between the big finger pad and the second phalange of the index (closer to the seal of the bend towards the nail) *. The formed clamp in the fingers is called the lock (FulCrum). His task Creating conditions for free rotation of the sticks on the created point of support from the phalanx (or joint) of the index finger. The degree of clamping sticks each determines for itself in practice. The main condition is to avoid tension in the muscles, even even the price of slipping sticks from the hands.
* Note: There are still other castle options. On the index finger closer to another joint, which is closer to the palm. Both the option that is offered in your video clubs Dave Weckl, Jim Chapin, Steve Smith, Joe Morello, John Riley - on the middle finger, index - from above, big - on the side, middle - bottom.
Pick up the tip of the index finger and the remaining fingers slightly wrap the wand. The resulting hook index finger helps a stick with weak rebound. You do not need to clamp your fingers with the rest.
Another point, attention on which the majority of teachers sharpen, including Dave Break in their video school, to watch the gap between big and index fingers. This is one of the indicators that the brush is not covered. But at the same time, the option when the gap is not and the thumb completely lies on the stick it is possible when playing a game and in cases where you need to play loudly and quickly. For example, marching drummers play without this gap.
The right position of hands can be achieved if you first sink hands along the body and relax your shoulders. Raise the forearm to the almost parallel floor. Attention on the brush, there are no bends in the wrist, the brush continuation of the forearm, palm down. Naturally raised brushes in one (or almost one) plane with the forearm, the elbows are not clamped and a little designated to the sides.
Palm down this is the so-called German capture (German Grip), the most common option among drummers playing small drums in symphony orchestras. Thanks to the greater freedom in the movement of the brush (up-down), it is great for the game of rudiments in different dynamics. American grip came to replace German, where the brush is exposed clockwise by 30-40 degrees. This option is more convenient to move the hands between the installation drums and gives more freedom when using the Mollar technique in different dynamics, while maintaining the power of the German capture.
The third version of the symmetric capture occurred from the game on the Litarators - French capture (FRENCH Grip). Thumb top, palms are deployed to each other, the brushes are perpendicular ** floor. It is convenient for the finger technique, so it is often used to play with single blows and in the game on plates, where the rebound is worse compared to the plastic drum. Famous drummers like Billy Cobham and Simon Phillips played by French capture.
** Note: When they say "parallel" or "perpendicularly", give the word "almost". German capture varies from completely in parallel, before the degrees of 10 are unfolded, French is usually not 90, and 80 degrees, i.e. Slightly turn inside the same 10 degrees.
It is also important to position a small drum or training pad. Adjust the height so that the upper rim is 10 cm (approximately the palm width) below the Pup.
Traditional seizure (Another classic name).
Traditional capture is rooted to the military marching tradition. If you play the drum, which hangs on your shoulder, then the drum will go on one side - more precisely, to say, on the right side and left hand falls precisely into the rim. Traditional capture allows you to carry a stick over the rim of the drum, at the same time, while maintaining the angle of the stick relative to the surface of the drum (which is why many drummers playing with traditional capture tilted a small drum from themselves - approx. site - Forum drummers).
The leading hand (right-handed right) holds a wand as in a symmetrical grip. Relaxed weak hand bend in the elbow and open as if you hold the tennis ball. Insert the wand on the connecting tissue between the big and index fingers forming the lock. This will be a support point by analogy with the lock in a symmetric grip, around which the wand rotates.
To feel the traditional capture and strengthen the feeling of the castle, try this exercise: a wand in the castle, the brush is watching the sings (Fig. 4). Apply relaxed blows rotating brush around the axis of the forearm (motion from the elbow).
To complete the capture, put the index finger to the top joint on the chopstone. The average stretch from above along the sticks in the literal position, how much allows his relaxed position. The phalanx of the Unnamed serves as a wand, the little finger is selected. Palm looks sideways, it is important not to open it up. Brush on one line with forearm, without fades to the sides.
In all the grips besides the American, head of sticks over the center of the drum, the angle between the chopsticks is about 90 degrees. In American capture angle less than 90.
Use recommendations as a landmark, but also to the advice of an intelligent teacher, too, should not be neglected. There are many capture modifications, this article presents the most common. The proper effect, subject to the rules, tested by time on the example of many drummers. These capture options allow you to play with relaxed hands in the natural position for them and increase the technique.
Variants of different seizures were repeatedly discussed on the forum drummers - the site, the main rule to which came in the discussion: this is the lack of dogma. It is more important to understand the "physics of the process": how to strike, like a stick bounces and how to control it. Variety of captures are attempts to make the most conveniently controlling the natural natural forces acting on sticks when playing. In other words, to fit into your hands that the natural movement of the stick to which it is and adding ergonomic muscle work. The task of the musician is the free sound of the instrument, and with what fingers the stick will be clamped, probably not so important.
1. Symmetrical grip (or parallel / pair)
This is the most common option, so let's consider it first. It is divided into the following options: German, French and American.
Take a wand at about 12 cm from its thick end (here the wand should have a free rebound), clinging it between large and index fingers, with the average force so that there is no strong tension of the muscles, and the remaining fingers are slightly wrapped the wand. Between the large and index fingers there must be a gap, which indicates that the brush is not covered.
German capture is such a type of capture of drum sticks, in which the palms look down. It is mainly used by drummers who play in symphony orchestras. With such a grip, the brush is freely moving up and down, allowing you to easily play rudimia with different dynamics.
American seizure - This is a type of capture of drum sticks, in which the brush is exposed clockwise by about 30-40 degrees. Thanks to this seizure, it is more convenient to move hands on the impact installation and keeping the power from the game.
French capture - This is a type of capture of drum sticks, in which a thumb top, and palm is almost perpendicular to the floor. He was invented for the convenience of playing on the licenses. Great for playing solitary fractions on plates, where, unlike playing plastics, drums, too bad rebound.
2. Traditional capture (or classic)
Initially used military drummers, so as not to interfere with the drum belt when the game standing. It is a classic capture for playing in jazz.
The right hand (left-left - left) holds a stick of symmetric grip, and the left hand (at the right-handed right) bends in the elbow and reveals, then put the wand on the tissue between the big and index fingers, forming the lock. Next is the index finger of the upper joint on a stick on top, the medium stretched from above right along the sticks, the phalanx of the Unnamed serves as a wand of the support, the little finger is selected. The palm does not open up, looks like in the side, brush on one line with forearm.
Now you know all the possible options for capturing drum sticks, and you can quietly pick up such a grip in which you will play more easily and freely. And the main thing is that with the selected version you have sought the desired sound recovery and could play technically.
Staging gaming apparatus
A prerequisite for successful learning to the game on the shock installation is to overcome excessive muscle tension. Given the complex nature of the technical tasks (technique of the game with hands, technique of legs, interaction of hands and legs), the issues of playing apparatus need to be considered in more detail.
Technics
There is a capacious definition of technology - this is the speed plus the accuracy of the game. Training of each drummer, in order to achieve these qualities, begins with development basic elements Techniques in which:
Staging
Sound meal
Landing
It should be noted that in order to achieve the best results in the development of equipment, it is necessary to consult from an experienced teacher. Also, in terms of hand setting, you can recommend the Dave Wayikla Vayikla video collections, "Evolution".
Consider briefly the above elements of technology.
1. Stage
Currently, two types of hand sets are used in world and domestic practice: Photos 3 and 4 demonstrate the correct option. Note, the wand is clamped between the large index and middle fingers forming the support point ("lock"), and the remaining two fingers do not compress the wand, but only support it from below.
A place on a stick in which you need to keep it with great and index fingers is determined: Take the wand with these fingers, then remove the thumb and give the shock part of the stick freely fall on the drum. Then repeat this procedure by moving the grip on the stick. The most "alive" rebound will indicate you the desired place for the "Castle". It should be noted that this point does not coincide with the center of equilibrium of the stick. Mental distance should be a large and index finger (photo 5). No need to press a thumb to the palm.
traditional, classic production, (Photo 1) originates from military orchestras. A characteristic feature of it is the specific position of the left hand, associated with the inclined position of the small drum; parallel handling, (Photo 2) gained widespread in our time. A distinctive feature of this method of the game is the principle of the same (parallel) holding drum sticks both right and left hand. In my opinion, parallel hand set has several advantages. First, the method of playing both on sound impact tools (xylophone, vibraphon, licitations, etc.) and installation is unified. Secondly, a number of receptions of the game on a large set of shock installation is more convenient to perform in parallel handling. Many outstanding drummers are equally dominated by the other hand formulation, which significantly expands their performing opportunities.
It should be noted that this point does not coincide with the center of equilibrium of the stick. Mental distance should be a large and index finger (photo 5). No need to press a thumb to the palm.
The pads of medium and nameless fingers (and in most cases and the little s) should not be broken away from the sticks. The exceptions are exercises played only "in the castle".
Parallel handling is discussed in detail in numerous schools and textbooks issued as in our country and abroad. In this regard, I consider it appropriate, more details on the main points associated with a parallel production.
As a result:
The wand can move much faster;
The natural rebound is easily achieved;
Fingers supporting wand are actively involved in the strike, control the speed and amplitude of the movement of the stick; The wrist muscles are practically not tired.
Highlights:
The thumb lies on a stick parallel to her, not "giving" sideways.
Drum sticks in both hands are perfectly equally equally, large, index and middle fingers, and are a continuation of the hand. It should be borne in mind that the drum wand is fixed between the first and second phalanges of the middle finger, slightly pressed the "pad" of the thumb, and the remaining fingers in the semi-bent position are freely located along the sticks. The shoulders and elbows of the artist are in a free position, are not pressed against the body, but they are not bred widely to the sides. Forearm and brush as it were to form a straight corner in relation to the freely silent elbow. When playing, it is necessary to pay serious attention to the liberation of movements, prevent compression of the muscles. It should also be borne in mind that large technique and powerful sound are achieved at the expense of a large amplitude of hands lifting (shoulder, forearm, brush), and more small appliances and elegant sound are achieved mainly by the brush and fingers.
The technique of playing kicks on the impact installation (a large drum, high-hat, 2 large drums, 2 High-hate) significantly complicated and diversified with the development of new genre areas, such as rock, jazz rock, Funk-Rock and others. In connection With this, the role of Large Drum and Hai-Hat in the context of the timbre-rhythmic texture has increased significantly. New technical techniques of playing legs appeared, such as the "heel - sock", "swinging feet", for the execution of which requires special preparatory work.
When playing an impact installation, it is necessary that the performer's body is direct, free, without a big support on his feet.
It is important to understand what is engaged in the impact installation, first of all, the brain is trained, and then hands and legs. Conscious and inspired your game can be only with the active work of consciousness.
I strongly recommend all the students to record your successful thoughts in a special notebook, as well as the performers of outstanding masters. This will help to gradually collect the "Bank" of ideas, to find your own concept of the game, to study more in-depth and know the endless world of music.
A prerequisite for successfully learning the game on the impact installation is to overcome excessive muscle tension. Given the complex nature of the technical tasks, such as the technique of the game with hands, technique of legs, interaction of hands and feet. Questions of the game apparatus need to be considered more specifically.
Hand setting
Currently, in world and domestic practice, hands are divided into two types of proper arms. The first option is when the wand is clamped between the large, index and middle fingers forming the "lock", the remaining two fingers at this time only maintain a wand below.
The place is determined on the stick, in which it is worth keeping with large and index fingers, so: take the stick with these fingers, then remove the thumb and give the shock part with a wand freely fall on the drum. Then repeat this procedure by moving the grip on the stick. The most "lively" rebound will indicate you the location of the "Castle". It should be noted that this point does not coincide with the equilibrium of the stick. Between large and index fingers should be a small distance. No need to press a thumb to the palm. The pads of the middle and nameless finger should not break away from the sticks.
The second hand setting is the so-called classic or traditional statement. She originates from military orchestras. Her distinctive feature It is the principle of parallel holding drum sticks, both right and left hand. The characteristic feature is that the position of the left hand is specific, as well as, the inclined position of the small drum.
How to properly keep drum sticks when classic production? The drum sticks hold exactly the same, large, index and middle fingers, are like a continuation of the hand, the thumb lies on a stick parallel to her, not "giving" in the side. At the same time, it should be borne in mind that the drum wand is fixed between the first and second phalanx of the middle finger, slightly presses the cushion of the thumb, the remaining fingers in the semi-bent position are freely located along the sticks. The shoulders and elbows of the artist are in a free position not pressed against the body, are not bred widely to the sides. Forearm and brush as it were to form a straight corner in relation to the freely silent elbow.
When staging, all shocks should be strengths and whiskers and played at a slow pace, after each strike, the wand must emerge from plastic and stay at a distance of 5-10 mm.
Landing
Landing is also an important part of the performance apparatus. Consider more this item.
You need to sit for installation directly, without stitching, otherwise the movement of your hands will be limited, and the back voltage will occur.
The main rule is that the hips should be parallel to the floor, with such a landing you can use the muscles of the whole leg. This is especially important when playing heavy styles where the full sound of the bass drum is required. It follows from this that the landing height is especially important for the drummer. During the strike, the leg should rely on the pedal only by the Mask, the heel should hang in the air, otherwise, you will not have the muscles of the whole leg.
In pauses, between blows, you can lower the entire foot on the pedal so that the muscles of the legs rested. When the game of thoughts, the leg should not break away from the pedal, regardless of the speed of the game, nor from the strength of the blow.
Sound meal
The initial position of the body is such that the shoulders and elbows of the artist are in a free position, are not pressed against the body, but they are not bred widely to the sides. Hands from the shoulder to the elbow are parallel to the body, from the elbow to the wrist - horizontally.
When playing it is necessary to pay serious attention to the liberation of movement, the muscles are narrowing.
First, all exercises for the technique, for example, single blows, "twos", triols, paradides, tremols, etc. It is necessary to learn to confidently play with the help of the "Castle" from the large, index and middle finger. Then, non-name and a little finger are added as aid. So, the basis of the strike is a game of fingers.
It is also very important to work with a brush. Movement with a brush gives a blow to a big amplitude and helps fingers to strike. At the same time, the brushes in the wrists are relaxed, look down. Thus, the wrists are formed by the so-called "corner" which is an indicator of the relaxation of the gaming machine.
It should also be borne in mind that large equipment and powerful sound are achieved at the expense of a large amplitude of hands lifting (shoulder, forearm, brush), and smaller equipment and elegant sound is mainly achieved by the brush and finger.
For the correct sound recovery when playing any music, you need to master the game with your fingers with a brush and forearm, learn to combine these movements, turn them into one.