Marching snare tilt.

[Jim Nevermann]

A brief comparison of the basic skeletal differences between Traditional and Matched grips/movements may be helpful at this point. I'll focus on the hand and forearm bones involved, but not the muscles since their function in the grips/movements is a separate issue.

TRADITIONAL GRIP: The hand and finger bones [Metacarpals and Phlanges, respectively] are held in stationary positions relative to the forearm and each other. Stick movement comes from the two forearm bones [Radius and Ulna] partially rotating around each other along a common axis running between the single upper arm bone [Humerus] and the eight wrist bones [Carpals]. An easy way to visualize this forearm rotational movement is to hold snare sticks together so that your hands cup the stick's ends. Turn your hands in opposite directions to each other and you'll see the equivalent movements of the Radius and Ulna.

MATCHED GRIP: the Radius and Ulna are held stationary and parallel to each other; just the opposite of Traditional. The hand moves hinge-like from the wrist bones [Carpals]; also the opposite of Traditional. Stick movement comes from a combination of that 'wrist hinge' and varied degrees of the finger [bones] squeezing and unsqueezing.

Edited September 21, 2008 by Jim Nevermann

[DRUMAJOR]

TRADITIONAL GRIP: The hand and finger bones [Metacarpals and Phlanges, respectively] are held in stationary positions relative to the forearm and each other. Stick movement comes from the two forearm bones [Radius and Ulna] partially rotating around each other along a common axis running between the single upper arm bone [Humerus] and the eight wrist bones [Carpals]. An easy way to visualize this forearm rotational movement is to hold snare sticks together so that your hands cup the stick's ends. Turn your hands in opposite directions to each other and you'll see the equivalent movements of the Radius and Ulna.

MATCHED GRIP: the Radius and Ulna are held stationary and parallel to each other; just the opposite of Traditional. The hand moves hinge-like from the wrist bones [Carpals]; also the opposite of Traditional. Stick movement comes from a combination of that 'wrist hinge' and varied degrees of the finger [bones] squeezing and unsqueezing.

Traditional: rotate

Matched: squeeze

Thanks for clearing that up Jim!

[drumkid]

to clear up DRUMAJOR: it was rotate vs. hinge.

what needs to be understood with regard to kinesthetics of traditional grip is keeping the thumb in line with the radius bone throughout. i notice most struggle to define thumb placement and reasoning.

the thumb should be treated as an extention of the radius. moving the thumb off line results in a loss of energy.

dk

[DRUMAJOR]

to clear up DRUMAJOR: it was rotate vs. hinge.

what needs to be understood with regard to kinesthetics of traditional grip is keeping the thumb in line with the radius bone throughout. i notice most struggle to define thumb placement and reasoning.

the thumb should be treated as an extention of the radius. moving the thumb off line results in a loss of energy.

dk

I was commenting on the squeeze hoping that Jim would detail the muscle and nerve interaction in relation to bone alignment, and then elaborate on the squeeze effect as it relates to energy consumption. heh

There is no doubt that an off-axis wrist can cause alignment problems and lead to bad technique, but if anyone can feel an energy loss when a thumb is a degree off-line, that individual needs to exercise and spend more time playing their instrument.

[sday88]

I've seen some pictures recently that show the tilted drum way off to the left side. I understand how/why this is, but does that change anything playing wise? Does it cause any different alterations to playing style? Etc.?

[LSU GRAD 82]

We had a big free for all last year about this very subject. The "Tilt" is just a visual "gimmick" IMO. Correct me if I'm wrong, but I don't think any DCI drumline has ever won high percussion with their snares tilted....

[Slow Adam]

We had a big free for all last year about this very subject. The "Tilt" is just a visual "gimmick" IMO. Correct me if I'm wrong, but I don't think any DCI drumline has ever won high percussion with their snares tilted....

LOL. You said this last time.

SCV 1998 & 2004 won percussion on the tilt, as well as every drumline from the 70's that marched before angle reduction bars were used.

[Slow Adam]

And as far as the tilt being a visual gimmick, I would argue the exact opposite. Traditional grip was developed because snares were slung at an angle. If anything, maintaining a traditional left hand grip on a flat drum is the visual gimmick. Why didn't everyone switch to matched grip when drums went flat?

[AlanAndreasen]

every drumline from the 70's that marched before angle reduction bars were used.

beat me to it

[08Hawkeye]

LOL. You said this last time.

SCV 1998 & 2004 won percussion on the tilt, as well as every drumline from the 70's that marched before angle reduction bars were used.

If anything, maintaining a traditional left hand grip on a flat drum is the visual gimmick. Why didn't everyone switch to matched grip when drums went flat?

and that as they say, is that. Gimmick talk done. winner.

I'm more interested in any potential loss of rebound from the right hand. As discussed earlier, if I was to implement this w/ my h.s., should I verbally say "change your right hand stroke such that it rebounds perpendicular to the head" ?? or is the difference so minor it doesnt effect technique?