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-Instructional - Drum Lesson Videos
Hand Technique Development Concepts (Knowledge & Ability)
Learn the skills professionals learn and peform on a professional level - What you do with your new skills is up to you!
Jacob learned "one on one" from Jim Chapin, and he has taught hundreds of students, therefore he's uniquely qualified to specialize in Hand Technique, Moeller Method.
Sanford Augustus Moeller
James Forbes Chapin (Moeller protégé)
Jacob Kaye (Chapin protégé)
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NEXT A few preliminaries toward excellent technique!
"Moeller made you play things with a continuous motion," Chapin said in a 1981 ModernDrummer article. "The motion was the message. You made the motion and the stick played it. After a while, it almost played itself."
(Sanford) Moeller analyzed everything and stressed taking everything apart. If you played a paradiddle, you would learn what each hand did by itself. So from the time Moeller showed me that, I was able to think in terms of doing one thing with one hand and one thing with the other. That was the reason I got into the things that later developed into my book, 'Advanced Techniques for the Modern Drummer'." Jim Chapin
Above video: "Syncopation Ex. 1" Variation #4 (embellishing any syncopation: Bellson 4/4 and Odd Meters, Pace, Chester, etc.) The concepts can be applied to drum set layered with an ostinato or as part of an improvisation. It's meant as a developmental tool as a kind of jumping-off point. NOTE: It can be useful for roll studies and reading studies. ADDITIONAL NOTE: Even at the slower tempo applied to drum set in a "Steve Gadd style" using various toms and bass drum as substitutions for accented notes around the drum set. I found hi-hat as quarter notes on or off the beat works fine. Perhaps as straight 8th's throughout may work. ____________________________________________
Applying the Above Concepts to Drum set
- avoiding antagonistic muscle movements, using principles of ergonomics, gravity, momentum, inertia and rebound to your advantage.
"Applying those principles to the 'stick-to-hand-to-instrument' relationship. Similar application to pedal(s), each has its own balance and tension. When all is set in motion, they require little energy to propel. Once in motion you learn to control it, moving beyond the body and affecting musical groove and feel." F. Gruber