Professor

Here's a link to a similar topic which may or may not provide better answers for you ... Sibelius vs Finale

A. Sibelius is still considered the better program for percussion, because of its eas of use. B. You can get a discount on Sibelius if you switch from Finale. C. Virtual Drumline from TapSpace provides the best soundfonts available. D. I create MP3 files (or Wave, if you wish) from my work. E. You can post your music on a website for people to download and listen to (although they won't here the true sounds with the playable score). But you can post MP3's along with the music so that they can here the true sound while following along with the music. Check out this site as an example of what you can do. F. You must have a good sound card when using soundfonts. I'd recommend at least a SoundBlaster Audigy 2.

I think that was somewhere around '74. With that thin coating of oil between the layers, they really reflected the sun in your eyes if you weren't careful B) Makes for a great sun tan though if you play tenors.

The difference in length between the Vegas and the Ralph Hardimon tenor sticks is minimal. BUT, the Vegas seem much longer when you play with them (not just my opinion). I, and the rest of the line that I played with, prefer the Ralph Hardimon sticks for that reason alone. IMO, sticks should be used as an appropriate balance to the pitch of kevlar snare heads, and mallets should only be used for effect, when appropriate.

That won me a couple of 1st's in the 70's. It freaks people out when they can't see your hands. Still, even though I snuck in some 4 and 6 mallet stuff, I don't know if that tune is fitting for the type of style that they focus on these days.

Even though it’s a total semantics issue … most people I know, when referring to a “glock” (or “glockenspiel”), are talking about a bell lyra (which, years ago, had a harsher sound than bells because of the way the bars were molded). I think you will find the more common term for the type of “gloc” that Stan is referring to is “bells” (or “orchestra bells”). That’s how the manufacturers usually refer to them. If I recall correctly, in the literal translation, any sort of bell that is struck by a mallet is called a glockenspiel, even a clock tower or chimes. In fact, I think in German, the act of playing the bells is called glockenspiel. Anyway, like I said … semantics. God I’m anal.

For the sake of arguing with myself, I just realized something (unrelated to drum corps drumming) … When playing on a set, I used to think it made absolutely no sense at all to use traditional grip, because it is clearly awkward when going around the toms. However, when considering Buddy Rich’s style, you pretty well HAVE TO play traditional grip. Because it’s all about finessing those beats on the left hand. I don’t think you can do that delicately enough with matched grip. It’s kind-of like eating. Those that don’t hold their utensils properly are using match grip, and they eat like apes. Those that hold their utensils properly are using reverse traditional grip, and they eat delicately and tastefully. Coincidence???? I think not.

I should have been more specific. I was referring to competitive drum & bugle corps beginnings. Not the era if rope drums.

You sound like me. It’s always been obvious to me that some people are more “natural” drummers. As an aside (and people may argue this), I’ve noticed that skinny people tend to have an easier time drumming. Obviously, that’s not always the case. Personally, I have to work considerably harder to drum as well as the people around me. I don’t think it’s about building muscles so much as it is about staying loose and getting your brain in gear – especially when it comes to your uncooperative left hand. Just be persistent with your exercises. You sound like you’re on the right track. Keep researching for appropriate exercises and give it as much time as it takes.

In reading these comments, I can go through and say, “I agree with that guy’s point on this - and that other guy’s point on that” … and more than once, I’ll think, “I never considered that perspective.” Thanks for keeping this interesting people.

So wouldn’t that just apply to those right of center, and would the people left of center not hear as well, then? Not that hearing the snare next to you would ever be a problem when they are flat. ORRRR … Would the lead stick now be on the left end of the line because that would now be the key projection point? I'm serious - this raises some interesting questions about playing with slanted drums. Or, is the angle change too insignificant?

No and No. Traditional is the original style. Therefore, you don’t get points for playing traditional just because it may be perceived to be more difficult (assumption) - because it's nothing new. Elbows can be tight to the sides with matched grip. It depends on the preferred look and drumming style. Sorry Pittman – Not trying to maliciously stomp all over your attempt.

Or … (and here’s something that will mess with your noodle) … maybe it’s genetics. For example, I (a quad player) can’t play traditional grip if my life depended on it. I also recall hearing Bill Bachman saying that he suffered from the same sort of thing. So people who are genetically disposed to traditional grip gravity to the snare line, while “matched grippers” (hey, new term) take on everything else. I suppose, in the next century, when we are selecting the genetic makeup of our pre-conceived children, we can state … blue eyes, blond hair, straight teeth, and make sure he uses traditional grip. John, thanks for that researched information about the winning drumlines through those years. That does seem like a compelling reason to abandon matched grip, whether you have an absolute explanation or not. See you at practice.

Right … That’s what I was saying at the start. Which, again, reinforces this “habit”. SCV realized that drumming traditional grip on a flat surface was not as practical as the original intention of drumming on an angled surface. I just find it interesting that, in an activity that seeks perfection, people go out of their way to do something the hard way … just for the occasional flash, or because it “appears” to look good because we are used to seeing it that way. Still, back sticking and such, although infrequent, is cool. And I know snare drummers who would not play as well match grip because they were raised on traditional. Anyway, it all makes for an interesting discussion

What? where do you get your information? Blue Devils have Never used match grip! you must be thinking SCV. My bad ... I went and double-checked the video from BD's percussion DVD back in the early 80's. The quality of the video is pretty crappy (and no close-ups), so it looked to me like they were using match grip. They actually were for at least a portion of a show one year because of the added drums on the sides of the snares (but that doesn't really apply). Still, snare lines were doing this around that time.