Back to the Basics
by Dave Hagedorn

While teaching percussion to beginners since 1972, and at the collegiate level since 1979, I have seen percussionists whose basic approach to the instrument has inhibited their progress. Solid and effective percussion concepts can be easily taught by band directors with little or no percussion playing experience. Many of these concepts may seem elementary, but they are the basic building blocks for excellence in percussion performance.
     Some concepts which need to be emphasized at all performance levels that I will address in this article are: selecting and setting up the equipment, the proper grip and stroke, and beat subdivision.

Selecting and Setting Up the Equipment
     Proper equipment, and adjustment of the equipment, are very important to great percussion playing. It is paramount to have a drum stand that can be adjusted to the proper height. Many snare drum kits come with a snare drum stand that does not allow the drum to be adjusted to the proper height. The rim of the drum should be approximately at the student’s belt buckle. I recommend having the drum head flat, parallel to the floor. This ensures that the stick will strike the drum at the proper angle, allowing for rebounding of single strokes, double strokes, and multiple bounces. Since I suggest teaching the matched grip, it is not necessary to slant the drum in the way that was used in the past with the traditional grip. Check the tension of the heads on both sides of the drum. The heads need to be tight enough so that rebounds and bounces are executed easily, and loose enough so that the drum has resonance. Pitches that work well for most 5" to 51Ú2" depth drums are an A on the top or batter head, and a slightly higher pitch on the snare or bottom head. This tuning scheme allows for resonance without the undesired ring. Page 604 of the Standard of Excellence Conductor’s Score, Book 1 provides some very helpful suggestions regarding the tuning of drums.
     Many beginners use sticks that are not large enough. Ironically, it is easier to use a stick that has weight and a large diameter (such as a size 2B) for playing soft passages as well as loud passages. Using a small stick (such as a 7A) makes smooth rolling difficult because there is not enough mass to produce a good bounce—either double stroke or multiple bounce. When selecting sticks make certain that both sticks are straight. This can be tested by rolling the sticks across a flat surface. Sticks that are warped should be rejected or discarded.

The Proper Grip and Stroke
     In my teaching I see many correct and incorrect ways of gripping the sticks. A good grip should allow for the student’s hands to be relaxed with fingers and wrists having no stress.
     I suggest that you start by teaching the matched grip because both hands do exactly the same thing and it is the basic grip for most percussion instruments. The traditional grip is effective but more difficult to teach and more difficult for a beginning student to master.
     Pay close attention to the diagrams on pages 2 and 3 of Standard of Excellence – Drums & Mallet Percussion, Book 1. These diagrams are good models of the grip.

Standard of Excellence – Drums & Mallet Percussion, Book 1, p.2 Drums

     I teach the grip by having the stick touch the pad of the thumb, the crease of the first joint of the index finger, and the middle pad of the middle finger. Most beginners do not use enough of the middle finger to control the stick. Consequently, they have problems with more advanced techniques. The student should gently squeeze the stick to have control, but hold it lightly enough in order for the stick to have a natural rebound off the head.
     To initiate the stroke, have students follow these steps:

Step 1
     Stand about eight inches from the drum with the feet comfortably apart and the student’s weight equally placed on each foot. Hold the sticks using the correct grip.

Step 2
     Hold the sticks one to two inches above, and almost parallel to the batter head. The sticks should form a 60 degree angle.

Step 3
     Using the wrist, raise the tip of the stick six to eight inches above the head. Then, drop the tip of the stick to the head and allow it to bounce off. The stick should strike the head slightly off-center, directly above the snares.

Step 4
To follow immediately with another stroke in the same hand, allow the stick to rebound six to eight inches above the drum head, then play the next stroke. To pause between strokes, allow the stick to rebound to its rest position one to two inches above the drum head (Step 2).

Step 5
When striking the drum, imagine that you are drawing the tone out of the drum.

Standard of Excellence – Drums & Mallet Percussion, Book 1, p.3 Drums

     Be certain to initiate the stroke with the wrists and fingers. The elbows and forearms should not be used to initiate the stroke as these are large joints and do not allow for delicate shadings of dynamics and stick control. While Standard of Excellence suggests that students “draw the sound out of the drum,” I like to think of hitting up, so that there is a sensation of rebound from the drum head. However you describe it, the student should be discouraged from hitting down into the drum for it creates an unmusical sound and can cause physical problems.
     Be sure to emphasize the rebound concept from the very first snare drum lesson, as it will be difficult to correct later. The stick should have a relaxed but controlled bounce off the head on single strokes, as opposed to a tense stroke into the drum head. Let the stick do the work, not the arms. Make certain that the stroke allows the stick to be “free,” rather than having a feeling that the arms and hands are forcing the stick to make the sounds.

Beat Subdivision
     The music of Africa consists of three basic elements: drumming, singing, and dancing. We can use these concepts to make our physical sensation of pulse and groove much stronger. I learned this at a workshop with Ghanian master drummer Abraham Adzenyah, who teaches at Wesleyan University in New Haven, Connecticut. After the workshop, I realized that these elements can be employed from the very first drum lesson to ensure the development of a strong rhythmic concept.
     The drumming element is already being employed as we play the rhythms on the drum. I have found that the second element, singing, is often not stressed enough. The singing consists of counting out loud and subdividing with rhythmic syllables such as 1&2&3&4& or 1e&a2e&a, etc. Any good counting system may be used and will help students to feel and develop the basic parts of the pulse. This also helps students realize where they are having problems with accurate realization of printed rhythms. The third element, dancing, may involve foot-tapping or the hand movements involved in making the stroke. The active body movement helps to coordinate the mind and body to help the student have a physical feeling of the pulse. All three elements should be present for the most effective learning to take place. Drumming, singing, and dance can be incorporated into student studies starting with the quarter note exercises on pages 4, 5, and 6 of Standard of Excellence.
     Students who follow these suggestions will notice improvement in their performance skills, and will find rehearsals and performances more productive and enjoyable.

Dave Hagedorn is a professional percussionist in the Twin Cities of Minneapolis and St. Paul. He is the percussion instructor at St. Olaf College in Northfield, Minnesota.

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