One of the best drumset books ever written isn't a drumset book at all. It's a book designed to develop snare drum technique. Nevertheless it has become a. George L. Stone - Stick Control For The Snare ficcocaldiskpros.gq - Download as PDF File .pdf) or read online. Stick Control for Snare George L Stone - Free download as PDF File .pdf) or read online for free. George Lawrence Stone's Stick Control is the original classic .
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This books (Stick Control [PDF]) Made by George Lawrence Stone. Book details Author: George Lawrence Stone Pages: 48 pages Publisher: Alfred Publishing Language: English ISBN ISBN Description this book For the Snare Drummer By. Stick Control, the title of George Lawrence Stone's snare drum method published in , and it is unquestionably the most famous drum book ever written. It will be noted that the practise-rhythms in “STICK CONTROL” are numbered and edition of Stick Control for the Snare Drummer by George Lawrence Stone.
I roll them through my fingers and flip them in the air while looking at the tips. If the tip wobbles, I put it back. I'll only roll them on a glass table or a surface known to be almost perfectly flat.
Most sticks don't have this problem nowadays but still, double check them. Again, this isn't a problem with say, Vic Firth. For pitch, tap the shoulder the tapered area between the tip and body of the stick against the side of your head. They should be pitch paired within a semi-tone imo.
Make sure they feel right. Some sticks can be very close in pitch and weight, yet feel and sound uneven. Some of it could be your imagination or due to a lack of even technique in both hands so use the same hand to check them. But sometimes it might be a lack of consistency in the wood. One stick may be slightly denser in one area than the other. And sticks may lose moisture over time.
It could be very subtle, but newer sticks sounding different from older sticks of the same make may not be entirely in your imagination. Also, the sticks may be identical in pitch but have some tonal or difference or variation in timbre. Something you can't pinpoint, but you know it's there.
Follow your instincts.
At almost every break in my practice, I switch the sticks in my hands Right to Left , just out of habit. Even if they seem perfectly matched. If you're on a on a table, make sure you're not playing with one part of the pad over a leg and the other further out. You will hear two different tones no matter how even your hands are.
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Hector Narvaez. To produce Jazz variations, repeat the previous exercises and put the right hand on the Ride Cymbal. Use Jazz interpretation and intersperse this with some straight-ahead Jazz time.
Play above exercise again, but substitute the left foot on the Hi-Hat for all L's. Add Hi-Hat with foot on 2 and 4, straight quarter-note down-beats, straight eighth-notes, or up-beats to any of the Three Pitch Exercises.
You'll need the Gajate Foot Bracket to make this happen. Try coming up with various other syncopated figures to play with the Left Foot, such as various clave patterns. Use the previous two exercises for sound source examples.
For a challenge to four part coordination, play single R's on one drum, single L's on another drum, double R's on a fourth drum, and double L's on a fourth drum; triple R's on the Kick Drum, and triple L's on the Hi-Hat with foot.
Starting on the snare drum, move each R around the drumset clockwise each stroke on a different drum. Reverse right hand motion to counterclockwise. Starting on your lowest Tom Tom, move each L around the drumset counterclockwise each stroke on a different drum.
Reverse left hand motion to clockwise. I encourage you to experiment and come up with your own ideas on how to apply ANY exercise onto your instrument.