Skip to main content

More on this 'Gripping' story

 Since I spoke about the issue of addressing the drum with the stick, I should talk about the advantages and disadvantages of the grips. 

THE TRADITIONAL GRIP

When the drum is tilted to the right (either field drum or concert drum) using the traditional grip would be a good choice. The angle of attack for the left hand is correct and the right arm just needs to lower a bit. Even if the drum is level, by bringing the left elbow in and rotating the palm in a more vertical position the angle of attack can be corrected.

There are disadvantages:

  1. The traditional grip for the left hand is inherently unnatural. This would cause unnecessary stress on the muscles. Bending the elbow in and twisting the palm vertical only exacerbates the problem.
  2. Playing multiple percussion complicates things. If the drum is tilted and the other instruments (wood block, cow bell, etc.) aren't then the elbow and palm are constantly changing positions to accommodate the angle of attack.
  3. The grips for Timpani and Mallet instruments use the matched grip so the question should be asked: Why require two different (and opposing) grips when it would be more efficient to learn only one grip.
THE MATCHED GRIP
Using the matched grip allows the student to concentrate on one grip that is capable of playing the entire family of percussion instruments albeit with slight modifications. Even the modern marching snare harnesses position the drum level.
The one disadvantage is if the drum is tilted, again putting stress on the left arm when it is raised to accommodate the angle of attack.

CONCLUSION
There is no conclusion, I prefer matched grip but there are many others who champion the traditional grip for at least part of the time.

As an anecdote I'll finish with this:
About 10 years ago one of my students played in a Solo and Ensemble Festival. He performed an advanced rudimental solo on an 8"x 15" snare drum. The drum was level and he used matched grip. After his performance the judge commented, " I see you're playing matched grip. That's old fashioned, they're using this grip now".  He then showed my student the traditional grip.

"Those who cannot remember the past are condemned to repeat it." (George Santayana)







Comments

  1. Often change is circular, Grasshopper. I think I would favor playing the matched grip now if I were still playing.

    ReplyDelete

Post a Comment

Popular posts from this blog

La Caverna del oro

 One of our first backpacking trips in Colorado was in the Sangre de Christo Mountains. One mountain in particular drew our attention. Marble Mountain was the location of a famous story of a Spanish cave of gold. There are many places on the web that tell this story better than I could, suffice it to say that we wanted to locate it and see the iconic 'Maltese Cross' located at it's entrance.  In 1974 after I got out of the Army we invited some friends to join us on this trip. We parked our car at the trailhead in the Wet Mountain Valley and backpacked up Marble Mountain to 12,000 feet. In one of the culverts we found the entrance to the cave. Maltese Cross at the Caverna del oro It turned out to be a real thing. The large red cross was still visible after 400 yrs. According to legend the Spanish put it there in the 1600's. I did have the courage to crawl into it but only a few feet. After about 10 feet there is a vertical shaft that drops about 750 feet!  The Cross is v...

The Amadinda

  The Amadinda is an African xylophone originally made from slabs of wood or even large sticks, with or without gourds for resonators. There was no reason for this project other than to see if I could make a simple mallet instrument. The box was made from plywood (which also acted as the resonators) and the bars were made from maple.  Since this was to be a true xylophone, the bars were all of equal width. Tuning was done by cutting the bars to different lengths and removing material from the bottom. Using a router I created a sort of 'stepped pyramid' instead of the traditional arc cut found on marimba or xylophone bars.  Cutting the underside is not only for tuning but it focuses the pitch and creates the characteristic overtones of the instrument. Since I wanted to play this with other 'Western' instruments, I chose to use a pentatonic scale of 2 2/5 octaves (C#,D#,F#,G#,A#,C#,D#,F#,G#,A#,C#,D#). Two people sit on either side of the instrument and strike the ends of ...

Camino del Diablo: The graves

This is not meant to be morbid but rather a reminder of the extremes of danger for those who traveled this desert trail.  What I saw were the historic graves, nothing from the pre-Spanish era. The Sonoran Desert has been inhabited for over 10,000 years and archaeologists have limited knowledge of the first people. What little is known consists of trails, trail shrines, petroglyphs/pictographs, mano and metate sites, sleeping circles and geoglyphs (the Blythe geoglyphs being some of the most famous). Some of these markers were names of people who may have died on their desert crossing or maybe just the fact that they were here. There is little information even for the historic markers. They are marked with rock piles in the form of a cross. Many were just rocks piled over the grave. One documented grave is that of Dave O'Neill, a prospector whose body was found along the trail in 1915.  The irony of the circumstances of his death is that his body was found face down in a puddle...