Matched Grip Revolution of the 1970s/80s

[LuvsPAisTe]

Can anyone explain how matched grip would NOT make sense if your goal is to sound as even as possible from hand to hand?

[Jim Nevermann]

I think Argonne was the first line to play match in DCI, in the early 70's. Anyone know of a line that played match in the 60's?

Correct. I saw Argonne playing matched in 1973 at the "Big V" contest in Milwaukee. Their line was taught by former Royal Air [and earlier Cavalier] snare Mitch Markovitch. In retrospect, I presume he/they went matched because it would have been quicker to convert former non-snare players.

I got into corps in 1965 [Wichita KS] and went to my first Nationals in '66, but neither saw nor read of any matched grip snare lines until '73.

[CM76]

Can anyone explain how matched grip would NOT make sense if your goal is to sound as even as possible from hand to hand?

Of course it makes perfect sense. It is completely rational, logical, and appropriate -- which is why they don't like it.

Just teasing a little. Who knows? I never got to play matched grip. It has to be a visual preference thing I guess. Or perhaps the big-egoed snare drummers just want to be different - trying to be elite. Calm down, I can say that cause I was one....

[john2780]

1979 27th Lancers (but I think they only played matched for the drum solo):

In actuality, We (27th) switched the snare line to matched grip in 1977 when Michael Kumer became our percusssion chair after his reign at Finnleyville. His theory was twofold in that replicating the sounds from hand to hand would be better achieved and the transition of members from other areas of the percussion section to the snare line did not require as much. By the way, I'm that good looking quint player next to the snareline in the '79 picture. And Mary (Gromko) don't you dare tell these people how mean I really was

John

Edited December 16, 2008 by john2780

[pearlsnaredrummer77]

Ah... That makes a lot of sense John. Dr. Michael Kumer was a long-time Dean of Music at Duqesene University in Pittsburgh. (Not only did he teach a lot of people via drum corps, but more than a few prominent instructors passed through his tutledge at Duquesne.) I know he taught at Finleyville for quite a few years, including their year as a top 12 finalist. It seems that many of his students and former Finleyville folks spread the Gospel of the matched grip for roughly a 150 mile radius. In 1981, after Finleyville had folded (in 1980) there was an attempt to field a corps in 81. I was part of that ill-fated effort and a girl (Diane Elizus) who was playing snare at Finleyville ended up marching snare at 27th in 81. In 83 several GBV snares including Rick Cogley, Glen Fuggett and Rich Zamperini (tenors) ended-up at 27th. I suspect part of the draw was that 27th was playing matched grip. The Mike Kumer logic of playing matched grip I am sure influenced Andy Yaracs when developing our line from essentially rookies in the 80s. It is true that we moved players around easily because of the matched grip basis of the line. To sum-up, it seems that Dr. Mike Kumer was very influential in the matched grip revolution.

On a side note, when I was the percussion section leader at the University of Pittsburgh, Mike Kumer's daughter Michelene was a Golden Girl (majorette).

In actuality, We (27th) switched the snare line to matched grip in 1977 when Michael Kumer became our percusssion chair after his reign at Finnleyville. His theory was twofold in that replicating the sounds from hand to hand would be better achieved and the transition of members from other areas of the percussion section to the snare line did not require as much. By the way, I'm that good looking quint player next to the snareline in the '79 picture. And Mary (Gromko) don't you dare tell these people how mean I really was

John

[Fastone]

The funny thing about matched grip playing was for me coming up during the sixties, the general thought was if you didn't play traditional, you weren't a "true" snare drummer. I knew a few folks ( Billy Cobham being one of them) that were very good players that played tenor drum or didn't march because they couldn't play traditional grip. I personally prefer traditional because that's what I was taught but as long as the player or players can produce good expressive sound quality, I really don't care what grip they use.

[sday88]

In 83 several GBV snares including Rick Cogley, Glen Fuggett and Rich Zamperini (tenors) ended-up at 27th.

Glen didn't march at 27 did he? He went to my high school and I took private lessons from him.

[pearlsnaredrummer77]

Hey Scott,

Actually, I didn't ever meet Glenn-his crew all split after GBV did not field for the 82 season. I think the history of that bunch is most went to Defenders for 82 and then Defenders folded. (I can't say much-most of my crew went to Finleyville and they folded. We then marched Butler then that folded-one friend marched Ohio Brass Factory and they folded.) So they moved down to 27th and eventually 27th folded. Anyhow, Rick Cogley actually relayed that info to me and he sent me a 27th practice pic. He stated Glenn is leaning against the chimes.

http://www.flickr.com/photos/rickcogley/17...57594176446673/

If you search through Rick's photo archive at flickr you may spot some more pics of Glenn.

Anyhow, they all eventually went to 27th with Mike Roades. I believe that Zamperini (now a dci judge) was our tenor tech for a brief period as was Roades. At least they were around periodically. Anyhow, they played with Billy Carnes in 27th who we GBV tenor players slightly worshipped from afar. Btw. Ray Dugan was from my era at GBV. I think he may have marched at Canton with you. Anyhow all of that is matched grip stuff and links back to Mike Kumer. Most of the guys mentioned were taught by people who had links to Kumer.

Glen didn't march at 27 did he? He went to my high school and I took private lessons from him.

[sday88]

Hey Scott,

Actually, I didn't ever meet Glenn-his crew all split after GBV did not field for the 82 season. I think the history of that bunch is most went to Defenders for 82 and then Defenders folded. (I can't say much-most of my crew went to Finleyville and they folded. We then marched Butler then that folded-one friend marched Ohio Brass Factory and they folded.) So they moved down to 27th and eventually 27th folded. Anyhow, Rick Cogley actually relayed that info to me and he sent me a 27th practice pic. He stated Glenn is leaning against the chimes.

http://www.flickr.com/photos/rickcogley/17...57594176446673/

If you search through Rick's photo archive at flickr you may spot some more pics of Glenn.

Anyhow, they all eventually went to 27th with Mike Roades. I believe that Zamperini (now a dci judge) was our tenor tech for a brief period as was Roades. At least they were around periodically. Anyhow, they played with Billy Carnes in 27th who we GBV tenor players slightly worshipped from afar. Btw. Ray Dugan was from my era at GBV. I think he may have marched at Canton with you. Anyhow all of that is matched grip stuff and links back to Mike Kumer. Most of the guys mentioned were taught by people who had links to Kumer.

Hmm, I see a pattern here. Maybe it was you guys that "cursed" those corps. Just kidding. I can't get that picture to load, but I think it's the same one Rick showed me in another thread. Glen was an instructor at 27 at that time. Don't know if you know the name Shelly Irvine, but he played tenors for 27 in '84 and '85 I believe. He's a local guy to me too.

Yeah, I remember Ray. We marched together in '88. I think he came from BAC. (?)

[ajedrummer]

Reading Buccaneers 1982 (DCA)

I marched matched in Troopers in 79 and one of the reasons I chose to go to Bucs in 83 was that they were matched. Nope.... Robbie Robinson from Crossmen was the drum instructor starting that year and he would NEVER allow matched in a snareline! I too switch back and forth when I play now.

I still think matched makes more physical sense (muscle strength, etc.) - but traditional has more visual appeal.