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00:00:00Música
00:00:30Hi, welcome. I'd like to share with you
00:00:42some concepts and thoughts
00:00:43on this video that recently have helped
00:00:46me develop a freedom
00:00:47on the drum set that I've
00:00:50envisioned for a long time, at least
00:00:51getting closer to it. It's also
00:00:54enabled me to achieve
00:00:56what I would call or think of
00:00:58as a natural evolution.
00:01:00And hopefully, we kind of all go through
00:01:02that as we progress through our lives.
00:01:04For those of you familiar with some of my
00:01:06older work, either live or especially on
00:01:08previous videos, this is new
00:01:10and different information.
00:01:15Why do I play drums?
00:01:17To hopefully give and provide a positive feeling
00:01:20or influence on people of all ages,
00:01:22while at the same time achieving gratification
00:01:24from trying to do everything I can to maintain
00:01:26a high level of self-expressing art.
00:01:28These days, I try to approach playing the instrument
00:01:31in a more emotional, communicative way
00:01:34as opposed to the more physical approach
00:01:35of yesteryear, when the drums were played
00:01:38from more of a technical frame of mind.
00:01:40This affects my input to the music
00:01:41and I believe the outcomes of the listener as well.
00:01:43In the 12 years that it's been between instructional videos,
00:02:03a lot has happened.
00:02:05I've learned a lot.
00:02:06And most of that is due to the teachings
00:02:08of the now infamous Mr. Freddy Gruber
00:02:11that I'm sure some of you have heard about
00:02:13through other great drummers learning a lot from him,
00:02:18such as Steve Smith, Neil Peart, Adam Nussbaum,
00:02:22to name a few.
00:02:23The end result with this approach should be
00:02:25to be able to play whatever comes to your mind,
00:02:27of course within the musical context being played,
00:02:30with a very relaxed feel
00:02:31and with no mental or physical obstructions.
00:02:35The techniques about to be discussed
00:02:37should always be viewed as a means to an end.
00:02:39In the end, it's good feeling and sounding music.
00:03:01¶¶
00:03:13¶¶
00:03:18¡Gracias!
00:03:48¡Gracias!
00:04:18¡Gracias!
00:04:48¡Gracias!
00:05:05¡Gracias!
00:05:08¡Gracias!
00:05:13¡Gracias!
00:05:15Basically, the whole concept is to approach the drum set from a natural position, a natural place.
00:05:22And you have to start with the body and understand basically, and actually more than understand, pay attention to how the body works.
00:05:31We're going to be talking a lot about wrist movement, arm movement, and just how the body relates to the drum set in the way that it's supposed to work.
00:05:41I always like to do this little demonstration of waving to someone because this is how the wrist works.
00:05:50We all work the same way.
00:05:52And what I'm going to be talking about is developing wrist strokes and finger things and other things to practice, but we're going to start with the wrist.
00:06:02So this is how it works, so when you do play with the wrist, the concept is to have the thumb looking sideways, the palm down, and move the wrist this way.
00:06:12I know people that have gone to the hospital, actually, from trying to play with their wrist too much this way.
00:06:17It doesn't work this way, so just be careful and try to avoid doing that, okay?
00:06:23The whole concept, as I said, has to start from the body, all right?
00:06:26And in order to be natural, the key word is relax, be relaxed.
00:06:32So the most relaxed position is getting the hands start from here, let the shoulders relax, and get the arms down, all right?
00:06:41Just let them hang and bring up the wrists and let them hang.
00:06:45Just completely forearms up, elbows in, not unnaturally, but just against the body, and the wrist bent.
00:06:53This is what I call the home position, okay?
00:06:56This is the position where everything should really come from when you're playing,
00:07:01and to think about that when you start approaching playing the instrument, okay?
00:07:05It's not natural to hold hands out here, so if your drums are far away from you,
00:07:10if they're placed in a position that's hard to hit, you're already wasting a lot of energy.
00:07:16It should be something where you come from this home position and start from there, okay?
00:07:21So that's the first thing to pay attention to.
00:07:25The first exercise for developing this wrist control and this wrist practice is to do this motion without the sticks.
00:07:36And it's basically the approach of hitting a surface as a conga player would play.
00:07:41And that, again, is flat palm down, again, the thumb sideways.
00:07:47And it's also a good time to actually start thinking about this particular motion with the wrist,
00:07:54which is the wrist bending and coming down to the drum.
00:07:58Later, we're going to talk about this particular whip type of motion,
00:08:03which is, for all intents and purposes, called the molar technique,
00:08:07which was first taught to me by Mr. Jim Chapin and later, again, by Freddy Gruber.
00:08:14This first exercise, it's almost like throwing a ball,
00:08:17if you've ever thrown a ball before you lead with your wrist, okay?
00:08:21And although this motion isn't ideal for every situation when you play,
00:08:26it is a good place to start to understand this flow.
00:08:29A good correlation that I always like to bring up is the difference between a martial artist,
00:08:34somebody that is into karate and all those kind of movements,
00:08:38versus a boxer who is very rigid and straight in those kind of motions, okay?
00:08:43And it's not that one way is bad or good.
00:08:46It's just a matter of trying to express to you the feeling of this motion
00:08:54because it's very important to understand that feeling
00:08:56and be able to identify it when you're not doing it as well as when you're doing it.
00:09:02Okay, so from this position, the idea is to get the stick in the hand with that same positioning, okay?
00:09:12And it falls in that way.
00:09:16And now I have to talk about some specific things that have changed quite a bit from the old days, I'll say, for me.
00:09:25And that is really basically the concept of where I think about gripping the stick.
00:09:31I was taught, as I think a lot of people were, to hold the stick or grip the stick.
00:09:38This was the fulcrum point.
00:09:39This was the grip point.
00:09:40And what I'm going to try to get across is that in this position, rebound is not real possible.
00:09:49It insinuates that you're going to be holding on and gripping from here,
00:09:54which basically is telling me that I've got to do everything.
00:09:58I'm having to make the stroke, and I'm having to pick it back up from here.
00:10:02In order for rebound to happen, there has to be a pendulum effect, and there has to be a seesaw kind of thing going on inside the hand.
00:10:15And I always like to do, this is another demonstration that Freddie did for me back in the beginning of my studies.
00:10:24And it's basically, I call it Physics 101, because it's the idea of understanding a center point of gravity and how everything works against that.
00:10:35And basically, there's two things happening.
00:10:39When I set that stick in motion, I'm the action.
00:10:43That's the reaction.
00:10:47And I guess that's one of the most important things to realize that has to happen in order for this principle to work,
00:10:53is that you are the action putting the stick to the head, and the reaction is the rebound.
00:11:00First of all, let me just discuss this grip aspect.
00:11:05And the change, really, is from thinking about it being here, between the thumb and the first finger,
00:11:13to the thumb and the second finger, where the stick, again, lays in the hand, this way, and balances on the middle finger.
00:11:24The thumb is still flat against the stick, as it is, and like this.
00:11:31The first finger really becomes more of a guide.
00:11:34It's still on the stick, and for certain types of music, you may decide that you need more control,
00:11:40so it may become more of a factor in the grip.
00:11:44But I tend to look at it this way, where it's a little triangle.
00:11:49The thumb, the first finger, and the second finger kind of form this triangle,
00:11:53and the rest of the hand falls in behind.
00:11:57And exercise one is an exercise that I actually like to do without a drum first.
00:12:03And it's actually just hitting a stick, and it pulls back all the way,
00:12:10and it's caught between the thumb and the middle finger.
00:12:13Okay?
00:12:13And get that so that you can actually control it,
00:12:17so that you're knocking it back at a pretty good rate.
00:12:21Okay?
00:12:21Exercise two is to move that to the drums
00:12:25and allow the stick to rebound.
00:12:29So, again, notice the hand is not moving.
00:12:32It's the stick that's doing all the movement.
00:12:35Okay?
00:12:36And get in the habit of really focusing.
00:12:39This is not down stroke, up stroke.
00:12:41This is you, the stick.
00:12:44Okay?
00:12:44And it's just flying back.
00:12:46Because if it were to keep going, it would go back in a circular motion that way.
00:12:51Right?
00:12:52So you can see that that's the way this goes.
00:12:57It's important to flip the stick back into position before you stroke again.
00:13:02Okay?
00:13:02So, right?
00:13:08Okay.
00:13:09If you visualize a great basketball player going up and down the court,
00:13:13or if you've ever bounced a ball, you know the feeling of you putting the ball down
00:13:18and the ball coming back up into the hand.
00:13:20It's a continuum.
00:13:22It's a 50-50 thing.
00:13:23And this is the same feeling of a continual single stroke roll or a single stroke.
00:13:31Your hand basically follows the stick.
00:13:34It's rebounding and it's following it back down.
00:13:37And it's literally like bouncing a ball.
00:13:41As opposed to, again, this other approach of gripping here and you doing all the work
00:13:47and where it becomes more tight and tense and you're playing into the drum,
00:13:55then you have to pick it back up.
00:13:57Okay?
00:13:57This is all you.
00:13:58That's the physical approach that I was talking about, which, again, is not wrong.
00:14:02It just is.
00:14:03Okay?
00:14:04So you have that or that.
00:14:09And I think it's pretty obvious which way looks more relaxed and feels more comfortable.
00:14:15Because the feeling in the body and in the hands is indescribable, the amount of difference.
00:14:22And to be quite honest, when I first learned this whole approach and applied it to the drum set,
00:14:27where I was actually knowing that it was okay, that I didn't have to pound into the drum,
00:14:34that I could let the stick do a lot of the work, and I applied that to the whole drum set,
00:14:39the realization was almost funny to me that it was that easy and that it was that helpful.
00:14:45So I can almost guarantee that it will help you in some way if you can apply some of this approach.
00:14:52Okay?
00:14:55Okay.
00:14:55Now let me also just say, too, that there are some real benefits to this approach.
00:15:01Number one, as I said, it's less effort.
00:15:04Okay?
00:15:04You have a 50-50 thing.
00:15:06It's you and a stick.
00:15:07Number two, with this grip approach that is almost not a grip in some aspects because it is so loose
00:15:15and there is a fine line between you dropping the stick and holding on to it,
00:15:19the whole concept is that the stick really, really reverberates.
00:15:25You're allowing the stick to vibrate.
00:15:27And that, in turn, allows your drums to vibrate because if you take a stick and you hold it tight
00:15:34and you hit the sticks together, you get a very tight, choked sound.
00:15:39If they're loose, you get a very reverberant and it's a bigger sound.
00:15:44It's kind of like all the forces.
00:15:45Everything's working correctly.
00:15:48All right?
00:15:48That translates directly into anything you hit, a drum, a cymbal, whatever it may be.
00:15:54So you actually end up fighting yourself.
00:15:56You know, the transient, when you try to get louder, you know, the transient may get,
00:16:03the attack may get bigger or, you know, more volume.
00:16:07But the actual sound you're going to be producing will be smaller because you're choking it.
00:16:11You're not allowing the sound to vibrate on the drum.
00:16:16So you get more power, more sound, less effort.
00:16:19I sort of like that.
00:16:20That makes sense to me.
00:16:22And for match grip, if you're playing left-handed, the same exercises apply.
00:16:28Okay?
00:16:30All right?
00:16:31And that's the basis of the whole concept of really learning this rebound approach.
00:16:46Thank you.
00:16:47Thank you.
00:16:48¡Gracias!
00:17:18Ok, so talking about the left hand, the difference between match grip and traditional, basically
00:17:43the match grip, as I said before, is identical to the right hand, so I'm not going to get
00:17:48into a whole lot of that.
00:17:51Traditional grip should start from the same home position with the hand, and again, relaxed
00:17:59with the stick sliding, again, very loose.
00:18:03Now, back in the old days, I used to play with the stick much farther back in my hand, and
00:18:11I found that in those days when I was playing a lot of backbeat-oriented music, on two and
00:18:18four, that this gave me an incredible consistent backbeat, which is true.
00:18:25The problem is that it doesn't work at all for this rebound approach, and once I discovered
00:18:31how valuable this was, and I enjoyed playing that way so much more, this approach, holding
00:18:38the stick back here just didn't work for me anymore.
00:18:41And I'll do a very simple demonstration of why.
00:18:44Concerning rebound, if you just take the stick from holding it back here and let it bounce,
00:18:51you don't get too much help from the stick.
00:18:53If you get the stick in a balanced place, and in the left hand, we're going to call this
00:18:59position one.
00:19:01This is the cradle position, and if you get it in this position, and I call it the cradle
00:19:06position because it's cradling the stick, okay?
00:19:10But again, if you just let the stick bounce, you see how much help you get.
00:19:16I'm going to start with the hand completely open, thumb up, okay, and leave it that way.
00:19:24The stick doesn't come out at this kind of an angle.
00:19:27It comes out almost as straight as you can get it with the arm because it's important
00:19:33that in both hands that the stick is in line with the arm, all right?
00:19:42Geometry is very important.
00:19:44So hand open, thumb over the top, and this is important because if you try to keep the
00:19:49thumb back here, two things are going to happen.
00:19:52The stick's going to continuously slide out this way, all right?
00:19:55And you're not going to be able to control the stick very well without help from the rest
00:19:59of the hand.
00:20:01And the beauty of this whole traditional grip aspect is that you can do a lot of this with
00:20:07just the thumb.
00:20:08And this becomes, the grip, as it's called, becomes a position, all right?
00:20:13So lesson one is to simply turn the wrist upward so that your palm is facing up.
00:20:22And first of all, just let the stick bounce so you get the feel and the idea of the stick
00:20:27doing the work, okay?
00:20:31And then what I like to try to do is just get the stick to bounce, to continue to bounce,
00:20:37and you start to feel what you need to do to continue that bounce.
00:20:43Again, that's just the stick, a little bit of thumb.
00:20:48Now, it's very important that the thumb stay on top, all right?
00:20:51So this creates a leverage in between the thumb and your hand.
00:20:57So it's always pulling this way.
00:20:58Therefore, the thumb, the stick can't slide out, all right?
00:21:03Because you're creating a little bit of a lock there.
00:21:06It's not tight, but it's enough to keep the stick in place, okay?
00:21:11So once you understand that bounce, now, again, with the hand wide open, just try to get the
00:21:17stick to bounce in full arc, full rebound, all right?
00:21:23And a funny story for me, just a personal story, is that the first time I ever saw Tony Williams
00:21:30play, when Tony did a single stroke roll, I saw his hands open completely up.
00:21:41And when I was very young, I thought, my gosh, the technique isn't correct.
00:21:46What I didn't understand was, is that the only way to allow the stick to fully rebound is
00:21:53to let go of it.
00:21:55If you keep the grip and the finger on top of the stick, it can only rebound so far, can
00:22:00only go up to there, without turning your body and your wrist in an uncomfortable position.
00:22:05So the only way to extend the rebound of the stick is to let go of it.
00:22:10So this exercise will help facilitate that and understand it's okay to do that, okay?
00:22:22Now when you do go into position, I like to just look at the thumb being in between the
00:22:27two joints of the first finger, and the rest of the hand comes up and comfortably gets a
00:22:33little circle, kind of semi-circle around the stick.
00:22:38And this is an exercise as well.
00:22:41To open the hand, make the stroke, and come back to this position.
00:22:51And from here, you can design yourself a number of different exercises, just using single strokes
00:22:57with both hands, okay, and then playing single strokes together, all right, and eventually
00:23:16keep moving all over the drum kit.
00:23:46And that means that we need to do it again.
00:23:59All right, let's do it again.
00:24:01Come back, let's do it again.
00:24:03Let's do it again.
00:24:06¡Gracias!
00:24:36¡Gracias!
00:25:06¡Gracias!
00:25:36¡Gracias!
00:26:06One important aspect of this whole approach working is finding a stick that really works
00:26:21for you and feels like it wants to bounce.
00:26:25This whole approach concept really facilitated the need for me to change my stick.
00:26:33For years, some of you may know and realize that I've used a red stick from Vic Firth,
00:26:38my signature model, and although it's still cool for some things, for me I wanted to get
00:26:44a stick that worked in this approach concept as well a lot better.
00:26:50That other stick was a lot longer and designed more for playing from that other approach and
00:26:55from playing back on the stick a little bit more, which works great for that thing.
00:27:00For this particular thing, we have a new stick called the Evolution Model and basically the
00:27:07whole idea here is for you to try different sticks.
00:27:13Go through and find a stick that feels comfortable in your hand, that's going to bounce, that's
00:27:18going to rebound and feel like it wants to work with you, not against you.
00:27:22Okay, so what I'd like to do is give you some exercises to work on to develop some of the
00:27:29risk technique that we've already talked about, discuss the differences between that and using
00:27:35your fingers, and also get into some specifics about the molar technique.
00:27:39So that's three specific different things to practice that there are many more, but the
00:27:45object is to give yourself some options as far as movement of the stick.
00:27:51In my opinion, I don't think it's smart or practical to only have one way to play the drum.
00:27:59You're going to get tired and you're going to kill yourself physically, blisters and all
00:28:03that kind of stuff.
00:28:04So number one is the risk, which we've already talked about.
00:28:08In the position, right, palm down, thumb sideways, of basically just bouncing the basketball.
00:28:21And again, you'll notice when I do go to more of a powerful single stroke, that the hand opens
00:28:29up in the left hand, completely open.
00:28:34Back to control.
00:28:35When I play softer, I don't need to open up because I have, because I need the control
00:28:43actually to keep the stick softer.
00:28:49The second positioning is very important to understand that there's a change in the hands,
00:28:53especially in the right hand.
00:28:55And this applies more to cymbal technique than just about anything else, because I get the
00:29:01question a lot, well, what happens when you change to the ride cymbal and you go to play
00:29:05the ride cymbal?
00:29:06Do you keep the positioning the same?
00:29:08My answer to that is that it depends, because if I'm playing a contemporary thing where I'm
00:29:12playing a lot of the bell of the cymbal, then my hand basically stays turned in the palm
00:29:18down, thumb sideways position.
00:29:21And I'm using that particular thing, that way of playing.
00:29:28If I'm playing a jazz type of thing or something that requires the use of the fingers, OK, basically,
00:29:51this is another technique called finger control, and again to demonstrate the physiological
00:29:58movement of the fingers, the way they work.
00:30:01If we were to hold the stick in the wrist position and use the fingers that way, we wouldn't
00:30:06hit anything, because the fingers work this way.
00:30:09So in order for them to get the most motion out of the stick, now the hand turns up, the thumb
00:30:18is facing up, and the stick motion is this way.
00:30:22OK, so you see the difference between this being fingers, this being wrists, right?
00:30:32Now for the left hand, that's a bit more involved, and these days, I actually tend to turn the
00:30:46hand over and actually use the fingers this way, OK?
00:30:51So now we have two options, OK?
00:30:53We've got wrists, and we have fingers, all right?
00:31:02This is a multiple motion stroke.
00:31:06For the history, Mohler was a man that developed this and named this motion something from the
00:31:15way that the old army bands used to play outside and get a lot of power, because they were using
00:31:20this whip motion, so he developed it into his particular way of saying, it was his technique,
00:31:26and this is the way it is.
00:31:28It's a whip, and it's basically the concept of, I like to think of it as a multiple motion
00:31:38stroke.
00:31:39Everything we've talked about thus far is single motion.
00:31:41Wrists, that's one motion, one stroke.
00:31:44Fingers, same thing.
00:31:47Remember though, the idea is when the wrist comes down in the down position, that's position
00:31:54one, OK?
00:31:56And position two, theoretically, is on the upstroke, or not the upstroke, but on the way up with
00:32:01the wrist, if you're leading with the wrist for that whip, so you've got one, two, OK?
00:32:07So when we turn that into eighth notes, OK, there's a motion, a continual motion going down, but
00:32:20I'm getting one on the way back up, so, right, both hands.
00:32:28But I prefer to actually learn this and teach it in triplets, because it gives you three
00:32:37positions to work with, and it helps to identify this whole flowing motion, right, in a triplet.
00:32:46So we have one, two, three, one, two, three, right?
00:32:56Same with the left hand.
00:32:58One, the cradle position again, two, three, one, two, three, one, two, three, one, two, three.
00:33:09Now we have that circular motion.
00:33:11So triplets, right, and eventually, really try to, once you understand this motion of the
00:33:38shoulder, right, is to try to lessen the actual motion and keep the stick more parallel to
00:33:45the head.
00:33:46Let it bounce.
00:33:49So again, you have that rebound working for you.
00:33:54Now the stick stays more parallel, and there's not as much motion going on.
00:33:59It's the same thing, but the stick is actually bouncing more, and it stays parallel.
00:34:06Right?
00:34:13So that way, I'm not pulling up.
00:34:36You're well.
00:34:43fold.
00:34:45You're calling me the top two curtains, and I have to charming a little bit.
00:34:46But, and you know, if I like that, the top two still has some cons.
00:34:47Let it bounce things like is on the right side of the toes.
00:34:48Let it bounce them with the strength in the right side of the cheek.
00:34:49I'm not going to move around really quickly.
00:34:50It's tough though, buddy.
00:34:51We're not going left over this feeling.
00:34:52So you can take it from enjoying the tree doing that.
00:34:54This time I've seen a thing?
00:34:55You spend the time trying to draw all the time and create it,
00:34:57my ci biraz, the peat button, and if you're sitting at it,
00:34:59I've one night Those are tied to that will front of thealy Movie.
00:35:00Sure have to be enough slay in this building.
00:35:01So I can possibly have a fairly weak part-up body Hollywood
00:35:05Gracias por ver el video.
00:35:35I'd also, too, like to talk just a little bit about the double stroke roll, because that has changed fairly substantially for me, as well as everything else.
00:35:46I used to do a double stroke roll in this manner, which is fairly even, but you'll notice the right hand is choked and tight,
00:35:57which, after all of this looseness and all that development and that approach concept, really started to feel wrong to me.
00:36:05Based on an exercise that Freddy Gruber had given me at one time, which was basically a bounce and a snap turning over,
00:36:13so it's almost starting in the finger position with the right hand over and then turning over to the wrist position on the snap down,
00:36:23getting a nice, solid hit, but not forcing it, but just solid.
00:36:30You'll notice this is a dual motion movement, and it also allows the space to continue and the hand to be very loose.
00:36:36So rather than trying to get the double to pinch out from one position, I started working towards using this double position here,
00:36:48and it really helped loosen it up and get the sound to be bigger and fuller,
00:36:56so that now it looks and sounds or feels that way, if you can hear the sound at all,
00:37:03difference from this, which is more choked, to this, which opens up substantially anyway on the drums.
00:37:10Okay, so again, it's like a dual motion.
00:37:15It's a bounce and a snap, and the hand turns outward.
00:37:23The left hand hasn't changed all that much from the way I had done it in the past,
00:37:28which is basically opening up and closing.
00:37:36Okay?
00:37:38And snapping it into the hand.
00:37:42Okay?
00:37:44Now, I also get some questions sometimes about a one-handed roll, quote-unquote,
00:37:48that some people have seen me do for certain things,
00:37:51and this is actually an extension of the double stroke roll on both hands.
00:37:55I think Ralph Humphreys calls it reverse finger control
00:37:58in a way where you're actually bouncing the stick,
00:38:03and I was actually inspired to learn in the left hand
00:38:05by watching Buddy Rich do something one time on a video that just floored me.
00:38:13Now, Buddy does it about twice as fast for about twice as long,
00:38:17and his hand really doesn't move,
00:38:20but basically it's the double stroke motion
00:38:24over and over again with both hands.
00:38:28And a lot of great players use this technique,
00:38:30but it can really be used in a very musical situation for jazz,
00:38:34when you're playing a jazz beat, you know, different type of things.
00:38:37You can get triplets going.
00:38:42If you're playing a samba,
00:38:44you can get both hands doing the same type of thing.
00:38:49And again, these are things I can show on the drums.
00:38:52But just to understand that this is another way of making the stick move,
00:38:57another option,
00:38:58and it's tied directly into the double stroke roll motion.
00:39:02Okay?
00:39:32Mr. Freddy Gruber is here in the studio,
00:39:41and I've asked him to step in and just say a few words
00:39:43in reference to this natural evolution that I've been talking about.
00:39:48I'd like you to meet Mr. Freddy Gruber.
00:39:51What I'd like to do at this time,
00:39:53being David's giving me an opportunity to do this,
00:39:56is just capsule some of the more important things
00:39:59that have to do with the approach for development
00:40:02without really developing yourself,
00:40:06overdeveloping yourself,
00:40:07because you have to really respond
00:40:10to the drum set eventually and the music.
00:40:12So you can't just do this all calisthenically,
00:40:15because otherwise you're just going about it wrong.
00:40:18Once you're sitting down,
00:40:19if your hand is just hanging naturally,
00:40:21it just hangs down there.
00:40:22So I said to the guy,
00:40:23and it just goes bump, and it hangs.
00:40:25Once you bring it up and the stick just lays there,
00:40:28it's still exactly the way you had it originally.
00:40:31This is exactly the way it sits on the drum.
00:40:36Now I'm going to drop them naturally.
00:40:40There's your match grip.
00:40:43Now I'm going to just touch the stick,
00:40:46and there I went into this hinge right there.
00:40:48So they're really all the same.
00:41:03I haven't changed anything.
00:41:05Okay.
00:41:06That should end all that stuff about what grip do you play,
00:41:10because if you're doing it right,
00:41:12you're practicing all of them no matter what you're playing,
00:41:15because it's all going to work in those arcs, you know.
00:41:19If you're going to do what was described as the molar system,
00:41:24okay, come in, you know,
00:41:26there did strike, tap, release.
00:41:30You're right at the tip.
00:41:31Ba, da, da.
00:41:32And there you are.
00:41:34That's it.
00:41:35It's just hanging there.
00:41:38Okay.
00:41:39And the same thing with this.
00:41:41When your hand is here,
00:41:44when it comes down to the drum,
00:41:51you're still doing strike, tap, release.
00:41:58And then to go through it real fast,
00:42:01the closed position,
00:42:03and David described it as a cradle,
00:42:06is just where the stick just hangs.
00:42:07You're not doing anything.
00:42:08It just sits there,
00:42:10like your foot sits on the floor.
00:42:11It's horizontal until you release it.
00:42:14Now, and so you can do little exercises.
00:42:16Don't really choke that stick,
00:42:18and it puts it into the cradle position.
00:42:20And if you want, open it up.
00:42:22Huh?
00:42:22So you're really now practicing a separate exercise
00:42:27for just to stretch out those fingers,
00:42:29but it's working in perfect tandem to the basic stroke.
00:42:33You are in a number of different positions for that symbol.
00:42:39Huh?
00:42:40You're right there, okay?
00:42:42Depending on whether you come to the right, huh?
00:42:45Some guys come to the left.
00:42:48Some guys play the time so open
00:42:51that they can almost play it vertical,
00:42:53but it's not quite vertical
00:42:54because there are no straight lines, technically speaking.
00:42:58You can't play anything vertical
00:43:00because it'll pogo stick,
00:43:01and things don't flow like that.
00:43:04You don't walk like that.
00:43:05You don't breathe like that.
00:43:06It doesn't work like that.
00:43:08Okay, so moving to the drum kit,
00:43:33I feel it's important to discuss the actual setup of the kit
00:43:38and how that affects the ability
00:43:41to actually facilitate some of the things
00:43:44that we were talking about on the pad.
00:43:47I realized after a few lessons with Freddie
00:43:50that in order to achieve the rebound aspect of this approach,
00:43:55each drum had to be in a place to allow that to happen.
00:44:01So I sort of had a concept to really start over with the setup,
00:44:06and this is what I suggest you do
00:44:08if you're struggling a little bit
00:44:10with your abilities to be comfortable at your drum set
00:44:13or just to check out yourself
00:44:15if you've been playing for a while
00:44:16and it's something that re-evaluation never hurts.
00:44:20It most certainly helped me.
00:44:21So what I did was I tore the kit completely down,
00:44:25and I started with just the bass drum,
00:44:27the snare drum, and the hi-hat,
00:44:29not having anything else on the kit
00:44:31to make my decisions of where I was going to place
00:44:34these particular voices of the instrument.
00:44:38So the first and most important aspect
00:44:41of your whole entire setup is your seat
00:44:43and that it's a sturdy one,
00:44:46that it doesn't move around, it doesn't wobble,
00:44:48that you feel stationary.
00:44:50And seating height, that's very important
00:44:55and also something up for debate.
00:44:57A lot of great drummers sit high,
00:44:59a lot of great drummers sit low.
00:45:00It doesn't, you know, it's really a matter
00:45:02of what's comfortable to you,
00:45:04but I will present a couple of things
00:45:06that I think are important to think about,
00:45:08and it has to do with the placement of the drums.
00:45:12So in my opinion, these, the seat,
00:45:15the snare drum, and the bass drum,
00:45:16this is like sitting in your car.
00:45:17This is your steering wheel of how you drive this band,
00:45:21the instrument.
00:45:22I've talked before about the most powerful point
00:45:26of the stroke being when the stick is flat, okay,
00:45:31and so that's where I want contact to be made.
00:45:34There's some things to consider, though,
00:45:36and in order to, again, realize this approach,
00:45:40certain things have to be in line.
00:45:43The drum, the snare drum can't be too low.
00:45:45You don't want to be hitting your leg
00:45:47when you're hitting the snare drum.
00:45:49And a way to test this is to,
00:45:52when you play, also play the foot pedals.
00:45:55And a simple exercise to ascertain whether that's working or not
00:46:00and whether heights are correct for you
00:46:02is to just play quarter notes on the hi-hat and the bass drum
00:46:05and just play some single-stroke sixteenths on the snare drum,
00:46:09sort of like this.
00:46:09All right, that allows your feet to be moving,
00:46:24your legs to be moving,
00:46:25and when you're hitting rim shots in the snare drum
00:46:27to see if you're actually hitting your leg,
00:46:30and that's in that wrist position.
00:46:32It was going back to my approach of traditional grip.
00:46:35First, let me just say a couple of things
00:46:37about the difference between traditional and matched.
00:46:40I play both, and this is a decision
00:46:43based on the emotion being put into the music.
00:46:46This is a more sensitive, sensual, actually, grip.
00:46:51It's, in Tony Williams' words, again,
00:46:53it's a caressing grip,
00:46:55whereas a give-and-take type of grip.
00:46:59The matched grip is more, it's matched.
00:47:03It's the same thing.
00:47:04But, so that's why you see a lot of jazz players,
00:47:07in my opinion, play the traditional,
00:47:09because it's almost the same thing as an acoustic bass.
00:47:13You're actually, like, it's a little different.
00:47:15You're hugging the instrument,
00:47:16but you get that same kind of feel.
00:47:19It's just an emotional feel towards the music.
00:47:22And any time I want to play something
00:47:24that has that kind of looseness to it,
00:47:26I tend to always use traditional grip.
00:47:29If I want really over-the-top power
00:47:32and very consistent long-term power,
00:47:35then I'll switch to this.
00:47:36That's not to say I can't get the power this way,
00:47:39because it can be done.
00:47:42Okay, so having said that,
00:47:44it doesn't matter which way you play.
00:47:46But there are a few things
00:47:48that really based on the angle differences.
00:47:53You notice with traditional grip,
00:47:55this is the angle that you're going to play,
00:47:57and with match grip, it's more down in this area.
00:48:00So for me, with the traditional,
00:48:02I decided, okay, snare drum is the first place to start.
00:48:05I needed to put this drum where the angle
00:48:07somewhat followed the angle of the stick.
00:48:11So that I wasn't leaning way down here
00:48:19to hit the drum.
00:48:22The only problem with that is
00:48:23if you angle it too much,
00:48:24then when you go to match grip,
00:48:26then you're having to compensate this way.
00:48:28So I've sort of found a middle ground here
00:48:30for my snare drum,
00:48:31that it's slightly angled away from me,
00:48:33following the natural angle of the traditional grip.
00:48:37And again, high enough so I'm not hitting legs.
00:48:39All right, the next thing you should put in there
00:48:42is the hi-hat.
00:48:43So that when you do combinations
00:48:45between just simple grooves even like this,
00:48:49that you're not handcuffing yourself,
00:48:55that things aren't hitting
00:48:56and that it's a comfortable place,
00:48:58that if you mess around
00:49:00with playing two hands on the hi-hat,
00:49:01it shouldn't be so high that it's uncomfortable.
00:49:10Again, it's common sense,
00:49:12it's experimentation, okay?
00:49:14The next thing I like to put on the drum set
00:49:16is the floor tom instead of these guys
00:49:18because this thing should be in a position
00:49:21to where when I go from tom-tom to snare drum,
00:49:25I can get to that drum.
00:49:33Also, when you're playing triplets,
00:49:35my concept is that I want that drum
00:49:43to be almost in the same position as this one
00:49:45so there's not much of a difference
00:49:46and I don't have to think about it.
00:49:48Okay, now comes these guys.
00:49:51And you'll notice that these drums
00:49:52are up in the air
00:49:54and they're over here
00:49:55and they're angled this way.
00:49:56And what I did with this grip
00:49:58is I said, okay,
00:50:00if I were to close my eyes,
00:50:01where would the toms go?
00:50:02And simply,
00:50:04in this grip,
00:50:07that's where they go, okay?
00:50:08They're heading
00:50:09to that place.
00:50:13Not exactly the same thing for match grip
00:50:15because, right,
00:50:18it's a lower setting.
00:50:19But when you're using rebound,
00:50:21that is a very natural position
00:50:28for me to go to.
00:50:29Also, I was really tired
00:50:31of reaching for my ride cymbal.
00:50:33And I want that thing
00:50:35in a place that's fairly comfortable
00:50:36because I use a lot of cymbal work
00:50:38in my music.
00:50:40So that's a priority
00:50:42and that's something
00:50:42you need to think about
00:50:43is what is your priority?
00:50:45You're going to be playing
00:50:46a lot of tom-toms,
00:50:47not so much ride cymbal.
00:50:48What is the music you're playing?
00:50:50If I play bebop jazz,
00:50:52which you've seen
00:50:54in some of the video stuff,
00:50:56or you will,
00:50:57there's only one tom-tom.
00:50:58The cymbal's even closer.
00:50:59So it depends on the music
00:51:01as to what's going on.
00:51:02But with the setup set this way,
00:51:04now with conventional grip,
00:51:06I can pretty much get around
00:51:07the kit very easily, okay?
00:51:09And to demonstrate that
00:51:11with some flowing motion
00:51:12type of stuff also
00:51:13that we talked about,
00:51:14I'll just play around
00:51:15the kit a little bit
00:51:16and see what I'm talking about,
00:51:17hopefully.
00:51:18Now, to further continue
00:51:40with the aspect of sound
00:51:44and the rebound aspect,
00:51:46one thing that will help
00:51:47is to think about the sound
00:51:48coming out of the drums.
00:51:50You know, the concept
00:51:51of that whole thing
00:51:52of grabbing the stick tight
00:51:53and playing in like this.
00:52:01Very physical, right?
00:52:04Instead of thinking,
00:52:05go, you know,
00:52:06think out this way
00:52:07and do the same thing
00:52:08and listen to the sound difference
00:52:11of how open now
00:52:12things will sound.
00:52:18Right?
00:52:19As opposed to...
00:52:23Things get tight,
00:52:24you know,
00:52:24and it goes in.
00:52:26But the whole thing
00:52:26of playing tight
00:52:27and playing in
00:52:29like this...
00:52:30Versus this...
00:52:39Versus this...
00:52:40For me, feeling-wise
00:52:52and sound-wise
00:52:53in a general aspect,
00:52:55it's much bigger,
00:52:56it's much easier to play,
00:52:58and the time feels better.
00:53:00Okay?
00:53:01Talking about hands
00:53:02more than anything else,
00:53:03and just to bring
00:53:04the feet into this,
00:53:05just realize that
00:53:07it's the same concept
00:53:09with the feet
00:53:10as it is with the hands.
00:53:12You don't want to bury
00:53:13the beater into the head,
00:53:16and the approach
00:53:17should be the same thing,
00:53:19to find that balance point
00:53:20on your pedals.
00:53:22Now, I play with my heels
00:53:23off the ground
00:53:24most of the time
00:53:25on the balls of my foot,
00:53:27and so it gives me
00:53:29kind of a feeling
00:53:29of dancing on the pedals
00:53:31instead of being stationary,
00:53:32which is not wrong.
00:53:33It's fine,
00:53:34but for me,
00:53:35it's not a comfortable
00:53:36way to play,
00:53:37so I generally always play
00:53:39with my heels up.
00:53:42The one time I know
00:53:43it feels better
00:53:44to put the heels down
00:53:45is if I do
00:53:46any kind of double bass work.
00:53:50There's more of a balanced feeling
00:53:52with the heels down that way
00:53:54as opposed to the heels up
00:53:56because I'm always searching
00:53:57for that balance point,
00:53:58so that's something
00:53:59that's still a work in progress
00:54:00for me
00:54:01is finding that positioning
00:54:02with heels up
00:54:03when I'm playing double pedal,
00:54:04but conceptually
00:54:06on a very basic level
00:54:07having to do
00:54:09with the rebound aspect
00:54:11of the bass drum pedal.
00:54:14And what I'm talking about
00:54:16when I'm saying
00:54:17the balance point
00:54:18on the pedal,
00:54:18with the heel up,
00:54:19if I put my foot
00:54:20all the way up the pedal
00:54:21and I'm in a ready-to-play position,
00:54:24the beater's already on the head,
00:54:26so that's kind of like holding
00:54:27the drumstick up here.
00:54:30You know,
00:54:30there's nowhere for it to go.
00:54:32There's nowhere for it to rebound.
00:54:33There's not that balance effect.
00:54:35And it's the same thing
00:54:36with the pedal.
00:54:37So I prefer
00:54:38to bring my foot
00:54:39halfway down at least
00:54:40and play from back there.
00:54:42That way,
00:54:43it's off the head already.
00:54:46So if I play
00:54:46just a simple groove,
00:54:48the beater comes off the head.
00:55:02And I've got that same approach
00:55:04that I do with the hands.
00:55:06It's all going this way.
00:55:07So that's kind of the concept.
00:55:09And you'll feel it right away.
00:55:11If you're doing this with your hands
00:55:12and everything's rebounding,
00:55:14the minute you start to
00:55:15bury with your foot,
00:55:17it's going to feel wrong.
00:55:18The other half of your body
00:55:19is not doing the same thing
00:55:22as the top half.
00:55:23So that's basically
00:55:24the approach with the feet.
00:55:47guitar solo
00:55:49guitar solo
00:55:52guitar solo
00:55:57¡Gracias!
00:56:27¡Gracias!
00:56:57I hope that in some way
00:57:07this can inspire you
00:57:09to help you become the player you want to be
00:57:11and to help you achieve your freedom
00:57:13on the drums.
00:57:27guitar solo
00:57:57guitar solo
00:58:27guitar solo
00:58:57guitar solo
00:59:27guitar solo
00:59:57guitar solo
00:59:59guitar solo
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