The Moeller method, Moeller technique or whipping technique is a percussive stroke method that combines a variety of techniques with the goal of improving hand speed, power, and control while offering the flexibility to add accented notes at will.
It is named for drummerSanford A. Moeller, as described in his book The Art of Snare Drumming, also called The Moeller Book.[1] It is believed that he described the method after observing drummers who had fought in the Civil War in the 19th century. Moeller was impressed at their ability to play at high volumes for long periods without tiring. He later taught the system to Jim Chapin in 1938 and 1939. Chapin worked to popularize this method until his death in 2009.
Stick Technique is your ultimate weapon because no matter what style of music you play, you will quite simply play it better with the power of great drum technique behind you. You may have already discovered that there are loads of materials you can buy if you just want yet another book full of beats and fills. The drum should be at waist level. Put your hands in the playing position with the sticks in the center of the drum head. Your shoulders, arms, and hands should remain relaxed. Stroke Motion, Rebounds, and Stick Heights. Make sure the bead of the stick goes straight up and down. Try your best to land in the same spot on the drumhead with each.
Whipping motion[edit]
The technique uses a specific 'whipping motion,' also sometimes referred to as a 'wave motion,'[2] that uses gravity and a dual-fulcrum motion to do the work, allowing the drummer to play faster, and louder, by staying relaxed. It has been promoted as requiring significantly less effort and carrying less risk of injury than other methods.
Chapin asserts in his video [3] that the technique does not rely on the rebound - that the drummer must master the hand motion while playing each note as an actual stroke, while Dave Weckl in another video [4] says that it does rely on the rebound.
Strokes[edit]
The Moeller Method uses the whipping motion, described above, and applies it to the 4 basic strokes of drumming, the Full, Up, Down, and Tap strokes.[5] Using a combination of the basic strokes, in the whipping Moeller style it is possible to play extremely quickly with minimal effort, or to introduce a series of accents into a stream of notes with relative ease.[6] Moeller strokes are often grouped into doubles, using alternating Up and Down strokes, and triples, using Down, Tap, and Up strokes in succession.[7] In practice, any combination of strokes can be used to play any rhythm or accent pattern needed.[8]
Grips[edit]
The Moeller book discusses two different right hand grips for traditional grip: the little finger or vintage grip, and the modern thumb fulcrum grip. The pinky fulcrum is pictured on page 4 of his book. His two-grip concept, missed and overlooked by many, was pointed out by Moeller advocate Tommy William Hanson, in a 2004 online article reviewing Moeller's book.[9]
Gripping the right drumstick with the little finger was normally associated with 'ancient style' drumming, aka a pre-1920s grip style that was normally taught to military drummers going back to the American Revolution. The 'vintage' grip consisted of pressing or gripping the drumstick predominately with the little finger. The other fingers would then be curled gently around the drumstick without pressing tightly. With this approach, the fulcrum is situated at the back of the hand. This allows for less vibration to be imparted to the hand during a loud stroke.
In contrast, the thumb fulcrum right hand grip (the second recognized grip in The Moeller Book) works better for a jazz drum set, rendering closed rolls and playing cymbal rhythms that require a more delicate touch.
The left hand grip that Moeller advocates is an open, loose grip.[10] This contrasts with the 'band and orchestra' grip popular in his era, which was closed and stiff. It is also entirely different, and more relaxed than the Alan Dawson 'thumb back' grip and less thumb-centered than the Scottish 'thumb on top' grip.
References[edit]
- ^Moeller, Sanford A. (1954). The Moeller Book. Ludwig Music Publishing. Archived from the original on 2009-07-09. Retrieved 2009-02-17.
- ^Beck, John H. Encyclopedia of Percussion. Routledge, 2013.
- ^[1]
- ^[2]
- ^https://www.howtoplaydrums.com/moeller-method/
- ^https://www.freedrumlessons.com/articles/moeller-method.php
- ^https://www.electronicdrumadvisor.com/moeller-technique/
- ^https://www.notsomoderndrummer.com/not-so-modern-drummer/2019/4/18/is-the-moeller-method-wrong-for-todays-drumming
- ^[3]
- ^https://www.moderndrummer.com/article/february-2018-moeller-through-chapin-lens/
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Moeller_method&oldid=918020132'
Traditional grip.
Traditional grip (detail). Note the signature 'underhand' grip of the style
Traditional Grip. This is a good example of the ancient style that Moeller describes. Note the angle of the snare drum, which makes the traditional grip of the left hand necessary, since matched grip would be difficult to use. Also note the positioning of the right hand, which looks like the little finger grip (See Moeller's book for more information, as well as George B. Bruce).
Elvin Jones playing drum kit using traditional grip, 1976
Traditional grip (also known as orthodox grip or conventional grip and, to a lesser extent, the jazz grip) is a technique used to hold drum sticks while playing percussion instruments. Unlike matched grip, each hand holds the stick differently. Commonly, the right hand uses an overhand grip and the left hand uses an underhand grip. Traditional grip is almost exclusively used to play the snare drum, especially the marching snare drum, and often the drum kit. Traditional grip is more popular in jazz drumming than in other drum kit styles due to the early jazz drummers evolving their style from marching and military styles and instrumentation,[1] although it is also used by several rock drummers.
This grip is called traditional because it descends from military marching drummers who carried a snare drum on a sling hung from the neck or one shoulder, with the drum riding closer to one hip than the other and tilted slightly for easier reach. This allowed the drummer to play the drum and march without banging his knees or thighs into the drum. Because of that drum position, using an overhand grip on the high (left) side of the drum would force the elbow into a very awkward position while an underhand grip is much more comfortable. Even when the drum is on a stand, many drummers will tilt their drum when using traditional grip. Although tilting is not required, it helps align the shoulders and spine and is more ergonomic. Many drummers use traditional grip on drums that are perfectly horizontal, especially in marching percussion.
With the underhand grip, there are several different techniques employed which involve slight variations in finger positioning and usage. Common with all techniques is the usage of the wrist in rotating (a motion like turning a door knob) as the fundamental motion of the stick. Once the stick has started moving, more involved techniques require the exclusive use of the thumb for bouncing the stick when playing at a faster tempo. The stick then rests in the space between the thumb and index finger, and the two fingers close around the stick with the thumb atop the index at the first knuckle. The middle finger then rests slightly on the top side of the stick (typically the side fingertip is the only contact made). The stick then rests on the cuticle of the ring finger with the little finger supporting the ring finger from below.
Sanford A. Moeller (whose book discusses the Moeller method or Moeller technique) suggests that one should learn the traditional grip 'ancient style', as well ... where the overhand grip should hold or grip the drumstick almost entirely with the little finger.[2]
Scottish pipe band players have a variation on the traditional left hand grip in which the underhand grip is played entirely with the thumb on top of the stick, utilizing no other fingers for downward pressure.[3] This suits the pipe band’s light and snappy style of playing well, but is not as suitable for American style drum corps playing or jazz drumming on a full kit.
Traditional grip can also be useful when playing with brushes in a stirring motion. Normally this style is used in a jazz context. The underhand grip naturally angles the left hand farther away from the right hand than would matched grip and allows more room for crossovers and sweeping maneuvers across the surface of the drum.
Physiologically, the traditional left underhand hand grip uses fewer muscles than the right overhand grip and this causes each muscle to do a larger percentage of the work.[4] Matched grip is therefore technically easier to play, though for reasons stated above, not always the superior choice for every application.
Prominent traditional grip drummers[edit]
Prominent drummers who used or use the traditional grip include:
- Charlie Watts of The Rolling Stones
- David Lovering of The Pixies
- Mick Avory of The Kinks
- Levon Helm of The Band
- Karen Carpenter of The Carpenters
- Rick Allen (before loss of arm) of Def Leppard
- B. J. Wilson of Procol Harum
- Jason Costa of All That Remains
- Brian Chase of Yeah Yeah Yeahs
- Carl Palmer of Emerson, Lake & Palmer
- Nick Pierce, formerly of The Faceless and Culling the Weak
- Bob Siebenberg of Supertramp
- Ziggy Modeliste of The Meters
- Stewart Copeland of The Police
- Billy Doherty of The Undertones
- Michael Shrieve of Santana
- Doug Clifford of Creedence Clearwater Revival
- Mel Taylor of The Ventures
- Billy Ficca of Television & The Waitresses
- Aaron Comess of Spin Doctors
- Carla Azar of Autolux
- Evan Walsh of The Strypes
- Bruno Valverde of Angra[5]
- Keith Carlock[6]
- Clive Deamer of Portishead and touring drummer of Radiohead
- Steve White of The Style Council
- Mark Zonder of Fates Warning
- Steve Smith of Journey & Vital Information
- Todd Sucherman of Styx
- Guy Evans of Van der Graaf Generator
- Neil Peart of Rush (sometimes using matched grip)
- Max Weinberg of E Street Band
- Daniel Glass (Left handed traditional grip)
- Stan Lynch formerly of Tom Petty and the Heartbreakers
- Jim Fox of James Gang
- Danny Seraphine of Chicago (sometimes using matched grip)
See also[edit]
External links[edit]
- An online article that covers the Traditional Grip'...used by the Ancients'...(i.e., the Little Finger Grip) - as per Sanford A Moeller, Jim Chapin, Tommy William Hanson, et al.
References[edit]
- ^Brown, T, D. (1976). A History and Analysis of Jazz Drumming to 1942. University Microfilms: Ann Arbor, MI.
- ^Sanford A. Moeller, the Moeller book, P. 4
- ^'Snare Manual'(PDF). www.lahulloise.com. Retrieved 2019-08-30.
- ^'Drum Technique & Ergonomics Part 5 – Get A Grip'. Paul Elliott - Drums. 2015-02-28. Retrieved 2019-08-30.
- ^SpiritOfMetal (2014-05-14), Angra: New Drummer - Bruno Valverde, retrieved 2018-06-01
- ^MusicmakerArtistDev (2011-01-16), Keith Carlock - Stick Technique, retrieved 2017-10-25
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