FUQ (eff -yu - cue) - FAQ's with an EDGE

Tagged As: Fundamental Study For Snare Drum

Question:
The thread about Moeller technique and grips brought up an issue that I've been dealing with. I've studies with some top level teachers and have my own opinions about holding the sticks and what-not, but it seems to me that a lot of the discussion, esp with Moeller grip, is primarily suited for snare drum work alone. Does anyone use this stuff when playing a shuffle, or a slow pop ballad with time on the hats?

Answer:
You bring up an excellent point. As a contributor to the last thread on the subject, I'll approach this part of the question. Moeller was primarily a classical player so his technique was designed for snare drum. It is easily adaptable to drumset, however. The shuffle is one of the best areas to benefit from the subject. Simply take the technique and exercises and swing them. You will start to see how certain patterns benefit from accents and non-accents giving a very natural feel to the groove or fill. Swing patterns for standard jazz styles do not benefit from Moeller for me. I use a French style grip like most people but mainly because of cymbal position. If my ride cymbal is more forward allowing a back of hands up position I will use Moeller. In Latin music where the ride patterns are syncopated and heavily accented, Moeller is awesome! The real challenge with techniques like Moeller is that most people don't work long enough with them. Most of us merely dabble with a technique. We try it for a few weeks, don't see radical improvement, quit and move on. ANY technique takes years to develop. I had played Moeller for many years before realizing its adaptation to drumset. This is because my teachers were classically trained with backgrounds in DCI. The results they acheived in developing the technique in me was to give me the tools to think creatively and find the application. My students benefit from this realization because they can short-cut straight to application. Drumset is still such a relatively new instrument that all techniques seem to be borrowed from somewhere else. The French grip you mention is strictly speaking a timpani technique. I consider timpani to be my specialty far more than drumset and I have used this technique on occasion. I have also used the German grip, but I primarily use the Hinger technique as one of his students was my teacher. I am a direct link. All three techniques produce different sonic results. French is very legatto and washy. It is best used during slow music with long roll patterns at softer volumes. German is very staccato and pointed. It is best used in loud syncopated patterns where the point of contact is more important than the resulting tone. Hinger is designed to get the mallet off of the drum as fast as possible and therefore gives emphasis to the resulting tone. The point of contact still remains clear unlike in the French grip. To my style of play, Hinger becomes the most versatile. Keep in mind, I am biased. I am a direct link to Hinger so of course it would be my preference. The fact that I spent five solid years studying the technique might also have something to do with my bias. The point is this: I use all of these techniques on drumset at one time or another. Sometimes my choice is sonic. French grip on the ride cymbal because I want a legatto washy sound. Hinger on the floor tom for a big roll. But many times it is just unconcious. Moeller on the toms because it works. French on the hi-hat because the chick in the front row is wearing something particularly low cut. Having a strong background and understanding in a variety of techniques gives you the freedom to not have to think about it too hard. It just happens. I hope this is helpful. As always, questions are greatly appreciated. Comments usually are to if they have something to contribute. (You suck, Can I have a NAMM pass, You are Lardo...not helpful.) I have a lot of answers, but certainly not all the answers. As the philosopher said, All points of view are valid.