STICK CONTROL BOOK
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 Lawrence Stone's Stick Control is the original classic, often called the This indispensable book for drummers of all types includes hundreds of basic to. Stick Control: For the Snare Drummer Unknown Binding – April 1, This item:Stick Control: For the Snare Drummer by George L. Stone Unknown Binding $ Progressive Steps to Syncopation for the Modern Drummer (Ted Reed.
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George Lawrence Stone's Stick Control is the original classic, often called the bible of By George Lawrence Stone Snare Drum Book Item: $ My son is starting to practice with the Stick Control book by George Lawrence Stone. How would you say is the best way to approach it,would. Teachers, students, and professionals everywhere will tell you that Stick Control for the Snare Drummer is the single most important book you will ever use in.
Stone-Stick Control for the Snare Drummer
Each exercise should be practiced at a variety of tempos. The reasons for mastering a sticking or other exercise to an increasingly rapid tempo are obvious; what is often less obvious- especially to the beginner- is how challenging it is to play cleanly, smoothly, and accurately at slow speeds.
Furthermore, there are a number of exercises utilizing triplets and later, other tuplets , and it is imperative that a metronome be used to ensure learning accurate execution of these. Similarly, each exercise should be practiced at a wide variety of dynamics, and for similar reasons: it is far more difficult for the majority of beginners to play very softly than otherwise, and a working drummer can be certain she will be called upon to do so at some point- probably sooner than later!
Even for more experienced players, quietly executing the more intricate exercises- or even the simplest ones at rapid tempos- will be challenging. Stone suggests practicing each exercise in repetitions of twenty i.
I will join other voices in suggesting that choosing instead a period of time- say two minutes- for each may be more effective, on the grounds that actually counting all those repetitions may be more of a distraction than anything. While the book is designed to rigorously exercise the non-dominant hand, I would go further and suggest that those exercises that lead with whichever is your weaker hand be afforded more practice time.
Your weaker hand is more than likely to always be as such, but the goal is to minimize the difference! Some Methods of Applying Stick Control to the Drum Set Applying the following techniques will greatly expand not only your drumming palette, but your limb independence as well.
Alfred Music Publishing Stick Control Snare Drummer
With my own practice as well as with my students, I take a number of different approaches. For the purposes of this article, I will put them into three main categories: Adding common foot patterns beneath the exercises Incorporating other elements of the set in the hands Substituting the kick for one of the hands in the sticking patterns while maintaining a ride pattern on the high hat or ride cymbal All of the following examples can be practically applied in a number of ways: in creating or varying basic rock, jazz, or funk and beyond patterns, in creating fills, and in soloing.
The 2nd category is even more wide open and can of course be further combined with the first.
On the Practice Pad 1. Deliberately When students begin working with Stick Control, I recommend they practice the exercises in a distraction free setting.
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I demonstrate this by playing through an exercise 20 times at a moderate pace with a metronome. I start all my students with this practice method so that they develop good fundamentals. After all, the goal of Stick Control is muscle development, so I equate this mindless practice with running on a treadmill. That leaves room for both the student and myself to add our own accents.
7 Ways to Teach from Stick Control
I start by penciling in accents above the first note of each exercise. Later, I add arbitrary accents to the exercises and encourage students to come up with their own accent patterns.
On the Drum Set 4. With the Feet Any exercise that can be played with the hands can also be played with the feet.
I emphasize this more with students studying double bass technique, but every student should at least attempt these exercises with their feet, even if they only have a single bass drum pedal and a hi hat. In fact, most of my students find it more difficult to play these exercises without a double bass drum pedal.
With the Hands, Adding a Foot Ostinato Drum set students can practice more efficiently by combining their hands and feet into the same exercises.
I have students start out by playing the exercises on the snare drum with their hands and quarter notes with their feet. As students progress, I add more complex foot ostinatos, such as a samba pattern.Bookmarks Bookmarks Digg del.
This simplicity and the necessary repetition in using it correctly can lead some students to feel that it is dry, even boring; but properly implemented, it can be everything but. I start at 60 bpm, and increase by 5 bpm every 2 bars or however long each exercise is. In this article, I am going to speak of it primarily in terms of its application to the drum set.
Building students through curriculum choices. Showing
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