Jay B Posted August 7, 2009 Share Posted August 7, 2009 I was reading Building the Green Machine and there was a quote from Frank Arsenault where he references "Connecticut-style open drumming". Any old (or new) percussion guys out there know what this is? Is this the same as Swiss rudimental drumming? Quote Link to comment Share on other sites More sharing options...
sarnia sam Posted August 7, 2009 Share Posted August 7, 2009 I couldn't give you a definition like some others around here can for Connecticut style, but I think it's more to do with the arm movement and heights. I wouldn't equate that style with Swiss at all. Regards, John Quote Link to comment Share on other sites More sharing options...
cabalumnidrummer Posted August 7, 2009 Share Posted August 7, 2009 I'm no expert, but I believe Sam's on the right track. A more wide-open arm/stick position at rest, use of the forearms more especially for roll attacks, and high sticking are the characteristics that come to mind for the 'Connecticut style.' Early practitioners were J. Burns More and Earl Sturtze. Quote Link to comment Share on other sites More sharing options...
RickCogley Posted August 7, 2009 Share Posted August 7, 2009 (edited) "Connecticut style" snare drumming is characterized by higher attacks, more arm movement both in the forearms (vertically) and elbows (horizontally) and arms out from the body. It was generally contrasted with "New York Style" which is arms closer in to the body, beads and strokes closer to the head, lower strokes. Connecticut style looks great in a parade. These styles were popular in the 1930s, 40s, 50s. You can see the styles reflected a little in the styles of today, but, noone's really doing Connecticut exactly. Neither of these is much like swiss style drumming. I can't play it but I've seen swiss up close, and that technique is not like what I learned in US rudimental drumming. The left hand thumb is kind of laying down on the stick. There are some incredible players of that technique, though. It would take a few years for a good DCI rudimentalist to get really good at swiss style, I think, if they really were faithful to the technique. When I marched in the early 80s, there were definite style differences. 27th was matched grip, low strokes with wrist, and an open feel between roll attack and the first left hand. This contrasted with a more "mathematical" approach to rolls from SCV and BD. They would attack and there was a gap between the leading accent of the roll, and the first left hand. We used to call them "east coast" rolls vs "west coast" rolls. Bridgemen were definitely "east coast" - loose sounding, but obviously great and aggressive too. Regiment had a very particular style, with the left pinky in traditional grip curled up tightly, and a very "stroked" sound. They also had those cut-away snares, so they were loud and exposed. You used to be able to tell the lines apart just by hearing them play. A distinct sound. Recently, there had been a bit of a homogenization of styles (maybe driven a bit by kevlar's hardness), which was a little disappointing to me. However, I am pleased to say that there are now several pretty distinct (snare) styles out there. I was thrilled to see SCV's "push-pull" exercise this year - check it out if you can find it. That's some awesome technique, and those guys are lucky to be in that program! Also check Regiment and BD. Rennick's Regiment is definitely a proponent of a relaxed type of style. They seem to be all about keeping the hands loose, and to me they look like they vary between an orchestral approach and a very aggressive, high-stick approach to the drum. BD's playing is also aggressive this year, with what I'd call a tighter more wristed stroke. BD has often been about playing balls-out loud and aggressive, but this year they have superior skill I believe. Edited August 7, 2009 by RickCogley Quote Link to comment Share on other sites More sharing options...
RickCogley Posted August 7, 2009 Share Posted August 7, 2009 I should also mention that the lines from the start of DCI through to when I marched were definitely higher and looser, and you might say some were more of a Connecticut style. Check out some old 27th Lancers recordings if you can - you can see glimpses of the snare line playing high (and clean, I might add, which must have been a challenge). Our "caption head" in 27th Charlie Poole, who won a number of snare contests, would sometimes challenge us to play high like that. Most of us were low-stickers, so we could not mimic his beautiful style, at the time. I would imagine that Kingsmen, Royalaires and other lines of that time would have that sort of style. Quote Link to comment Share on other sites More sharing options...
Jay B Posted August 8, 2009 Author Share Posted August 8, 2009 Rick, thanks very much for the great history lesson. I marched in the Midwest in the 60's and I don't remember a corps not using a high attacking stroke, whether Connecticut or NY style. It was a mixed bag in terms of roll styles. The attitude was basically we don't care what you play as long as its clean. The Cavies used the Connecticut "flying elbows" style well into the 70's, and they were probably the last to use it. Early 70's Santa Clara was the first line that I saw that used a really low stick. I think the 70's also ushered in the wrist only technique; Oakland Crusaders and Spirit are two that come to mind. I think your statement about kevlar heads affecting technique makes sense. Ultimately you have to adapt to the equipment. There is a youtube video of the 1971 SCV where they are using pretty much a 60's snare tuning and playing style. I'm pretty sure they were playing Rogers Dynasonic snares. Check it out. I'm definitely going to pull my vinyl out and re-listen to your early 80's stuff. Regards. Quote Link to comment Share on other sites More sharing options...
ajlisko Posted August 8, 2009 Share Posted August 8, 2009 I'm no expert, but I believe Sam's on the right track. A more wide-open arm/stick position at rest, use of the forearms more especially for roll attacks, and high sticking are the characteristics that come to mind for the 'Connecticut style.' Early practitioners were J. Burns More and Earl Sturtze. Correct John ... having had Earl as my instructor, we were trained to fully utilize our arms and forearms, rather than just the wrist ... we broke down each rudiment played the full 3 min. (in and out) to learn control and speed at maximum height ... and we always slung our drums low to allow the final snap of the stick to be "downward" towards the drum head ... tended to produce some pretty powerful 3 and 4 man snare lines ... not to mention a bevy of I&E national champs ... Earl was taught by Moore ... and Arsenault was taught by Earl in the CT Yankees ... when he moved to Chicago to play with and teach the Skokie Indians, he brought along that "CT" free arm style with him ... you should have seen him break down the long roll ... LOL ... other power instructors/players included Eric Perrilloux, Harry Ginther, Bobby Redican, John Dowlan, Bobby Thompson and Hugh Quigley - to name a few ... not sure if there are any copies out there still but, Sturtze's book on the mechanics of rudimental drumming is quite the read for a purist ... Andy "STICKS UP!" Lisko Quote Link to comment Share on other sites More sharing options...
Kevlar496 Posted August 8, 2009 Share Posted August 8, 2009 (edited) Correct John ... having had Earl as my instructor, we were trained to fully utilize our arms and forearms, rather than just the wrist ... we broke down each rudiment played the full 3 min. (in and out) to learn control and speed at maximum height ... and we always slung our drums low to allow the final snap of the stick to be "downward" towards the drum head ... tended to produce some pretty powerful 3 and 4 man snare lines ... not to mention a bevy of I&E national champs ... Earl was taught by Moore ... and Arsenault was taught by Earl in the CT Yankees ... when he moved to Chicago to play with and teach the Skokie Indians, he brought along that "CT" free arm style with him ... you should have seen him break down the long roll ... LOL ... other power instructors/players included Eric Perrilloux, Harry Ginther, Bobby Redican, John Dowlan, Bobby Thompson and Hugh Quigley - to name a few ... not sure if there are any copies out there still but, Sturtze's book on the mechanics of rudimental drumming is quite the read for a purist ...Andy "STICKS UP!" Lisko I saw Frank break down the roll and other rudiments in Quincy, IL in about '73. He gave a clinic for us. Unreal. I was blown away. I have a recording of him playing the rudiments somewhere. Marty Hurley and Dennis DeLucia are power guys also. Both students of Bobby Thompson I believe. Edited August 8, 2009 by Kevlar496 Quote Link to comment Share on other sites More sharing options...
RickCogley Posted August 8, 2009 Share Posted August 8, 2009 Rick, thanks very much for the great history lesson. I marched in the Midwest in the 60's and I don't remember a corps not using a high attacking stroke, whether Connecticut or NY style. It was a mixed bag in terms of roll styles. The attitude was basically we don't care what you play as long as its clean. The Cavies used the Connecticut "flying elbows" style well into the 70's, and they were probably the last to use it. Early 70's Santa Clara was the first line that I saw that used a really low stick. I think the 70's also ushered in the wrist only technique; Oakland Crusaders and Spirit are two that come to mind. I think your statement about kevlar heads affecting technique makes sense. Ultimately you have to adapt to the equipment. There is a youtube video of the 1971 SCV where they are using pretty much a 60's snare tuning and playing style. I'm pretty sure they were playing Rogers Dynasonic snares. Check it out. I'm definitely going to pull my vinyl out and re-listen to your early 80's stuff. Regards. JayB, you're welcome. I would have loved to have marched in a line that played that way. It just wasn't the style when I was active. I'll have to search the site that shall not be named for what you mention, and the others in this thread. It's a list of all the greats! Keep me busy for a day! Quote Link to comment Share on other sites More sharing options...
RickCogley Posted August 8, 2009 Share Posted August 8, 2009 Correct John ... having had Earl as my instructor, we were trained to fully utilize our arms and forearms, rather than just the wrist ... we broke down each rudiment played the full 3 min. (in and out) to learn control and speed at maximum height ... and we always slung our drums low to allow the final snap of the stick to be "downward" towards the drum head ... tended to produce some pretty powerful 3 and 4 man snare lines ... not to mention a bevy of I&E national champs ... Earl was taught by Moore ... and Arsenault was taught by Earl in the CT Yankees ... when he moved to Chicago to play with and teach the Skokie Indians, he brought along that "CT" free arm style with him ... you should have seen him break down the long roll ... LOL ... other power instructors/players included Eric Perrilloux, Harry Ginther, Bobby Redican, John Dowlan, Bobby Thompson and Hugh Quigley - to name a few ... not sure if there are any copies out there still but, Sturtze's book on the mechanics of rudimental drumming is quite the read for a purist ...Andy "STICKS UP!" Lisko What a time to have played snare! Quote Link to comment Share on other sites More sharing options...
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