with the threshold of injury lower because of the volume. I just do what I do for habit forming purposes, so that I don’t forget and hurt myself when pushing speed or volume barriers.
About matched grip, I feel that this style of playing will definitely become more widespread in the future among drummers because it is easier and simpler in many aspects: simple for playing, for finger control, for drum setup, etc. Personally I believe it is
Furio Chirico always good to study both styles, traditional
Personally I like traditional grip. Nowadays and matched, because these two individual I would advise drummers that traditional styles supply, two diverse and different grip works well approaches.To forthedrummers “I would prefer not saying which is sum it up, I who are playing betterthanwhich,justthatitisimportant would prefer open-handed or to improve. Not only for technique, but not saying who play with a alsoforexpressivedrumming.” whichisbetter remote hi-hat. -FurioChirico than which, Playing this way just that it is you do not need important to to cross your arms in order to groove, also improve, not only for technique, but also for you are able to position your arms higher, expressivedrumming.
and accordingly, be able
“Ithinkthatifyoupractice8hoursa to have more free space daywithtraditionalgrip,you’llbefine for moving your arms and if you practice 8 hours a day with quicker: playing the matchedgrip, you’llbefine...” drums more powerfully.
-Grant Collins Besides, for traditional
grip, I think there is a certain music genre that matches it well, such as jazz. The traditional grip enables you to have a fine sensibility with your fingers to express delicate timbres and feelings, which are ideal for this particular music.
As far as it goes for playing a more standard set up. I think that if you practice 8 hours a day with traditional grip, you’ll be fine and if you practice 8 hours a day with matched grip, you’ll be fine...
The age-old debate. Traditional grip was originally developed to cater for playing a snare drum on a 45-degree angle. I don’t know of too many players that have their whole kit set up (besides the snare) on this angle. If we were to look at it from a purely physical point of view matched grip will run out superior. This is due to the movement of the wrist, arm and the muscles involved.
I like the tradition qualities of traditional grip as it makes a statement for the forefathers of out craft.
I studied traditional grip as my only grip for many years. I had to make the change to matched grip when I started to expand my drumset. Matched grip was always going to give me more leverage and reach with less arm movement to both far right and far left extremes.
For my way of playing it’s useful to use matched grip. It compliments my way of orchestrating and phrasing my combination work through the entire kit. Also, I didn’t learn traditional in the first place, and I never have found a reason to pick it up now at this point. The other one seems to work.
“For my way of playing it’s useful to use matched grip.”
-Marco Minnemann
CHOPS VS. GROOVE
Mike Mangini- They’re inseparable; you use both like a tool. At in order to execute certain feels. For example, playing ahead of the appropriate time you use the appropriate tool. What I really or behind the beat can recreate a certain feel. It’s like creating can’t stand is the phrase “less is more”. What kind of a person chaos with mathematics. The two are inseparable. says less is more? Who says this stuff? What a dumb thing to say! I know what they mean when they say it, but less apples are just less apples. More apples are more apples. There is no right and wrong in that statement.
Grant Collins- Technique and groove are interdependent. Certain grooves require certain techniques. To play a super-fast odd-time fusion piece you may need a healthy dose of technical facility to make it really groove. If you’re playing a punk tune you may need a looser technique to get the groove. Sometimes I need to use 100% of my training to execute ideas, and sometimes I need to let the training go to get in the mindset of someone who may have only been playing for a couple of years. In the end it’s whatever sound good.
Virgil Donati- Great technique requires groove, and great groove requires technique. I’m talking about technique in its all-encompassing aspects. I think it needs to be clarified that technique means more than simply speed or complex ideas. There are two aspects to technique. First and most importantly, the technique of delivery, the method by which you make the sound. Then there’s the technique of facility which includes the ability to play complex grooves and patterns be it slow or fast with the option of speed. Improvement in one affects the other. It’s worth mentioning that playing fast does not necessarily mean playing well. If all the elements in the technique of delivery are ignored for the sake of the technique of facility, then rest assured that it is the least musical and in the long run the least credible approach to take.
Furio Chirico- The groove basically exists always in pieces, particularly in music like free jazz. The question remains a big mystery to all drummers. Which came first, the chicken or the egg? I have not yet succeeded in clarifying a difference between technique and groove.
Thomas Lang- Good feel is something that you’re often not aware of. It’s in the eye of the beholder. It’s not something that is a fact. The only reason I ever got into the technical side of things was
Marco Minnemann – FEEL! You can go to any school and see that technique is upgradeable. As long as you have a little bit of talent and patience you can get there. But at the end of the day it’s all about how it feels. A good groove is irreplaceable. It’s like the “Kashmir” [Zeppelin] or “Back In Black” [AC/DC] grooves. That’s the true state of the art. It’s always about feel. Listen to Vinnie [Colaiuta] with Sting. He has great technique, but it’s his groove that makes the music feel amazing!
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