Dojo - Snare Audition - 2013 Copy

7/29/2019 Dojo - Snare Audition - 2013 Copy

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Dojo Pecussion 2013

Snare Drum Audition Materials


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Right Hand

In the right hand, a fulcrum is formed between the pad of the thumb and the index finger (A). To

ensure maximum control of the stick, all fingers should remain on the stick at all times (B).

There should be approximately 1 of stick protruding from the back of the hand, and the stick should

fit naturally within the top side of the palm.

In regards to grip pressure, you should think of the stick as a baby kitten (not squeezing too hard, but

not so soft as to drop it) firm, but gentle. Excessive grip pressure will add tension (increasing the

energy required), and will choke off the sound.

When a proper fulcrum is formed and maintained, the gap between the side of the thumb and index

finger should be closed at all times (A).


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Left Hand (Traditional)

In the left hand, the fulcrum is again formed using the thumb and index finger. The stick is allowed to

rest in the fleshy area between the thumb and index finger, and a connection is formed between the

base of the thumb pad, and first joint of the index finger (A). This connection is criticalas it provides

the primary point in which the power of the down-stroke is transferred to the stick. The middle finger

follows the index finger, resting on top of the stick (B).

The stick rests on the cuticle of the ring finger (A). This connection provides power to the upstroke,

and provides additional control. The index finger and the ring finger should maintain the same

curvature (B). A common error is to extend, or straighten the fingers of the left hand. Care should be

taken to ensure the hand remains naturally cupped, as if holding a tennis ball. The pinky finger

should simply follow underneath the ring finger, and should never be cocked back.


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Set Position

In the set position, it's important to being with excellent posture, and a straight spine. Proper grip is

maintained in both hands. The sticks should be held together, right in front of left, perfectly level (A).

The beads and butts of the sticks should be even (B), and the last joint of the left pinky finger (where

the finger attaches to the hand) should graze the rim as a positioning reference

Playing Position

The beads should be located in the center of the head, as close together and close to the drum as

possible (A). Bead placement is the lynch-pin to the entire setup, and must be maintained. The sticks

should be raised so that 2 fingers can be placed between the stick and the rim of the drum (resulting

in a 22.5 degree angle of incidence). The right hand should have a slight outward turn, so that the


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thumbnail is facing towards the left shoulder (B). To get correct facing for the left hand, imagine a

drop of water falling from the sky. It should hit the inside of the left palm, and then run off on to the

ground (C). Too flat, and water would pool in the palm. Too upright, and water would not hit it.

The right stick should be held out laterally at 45. The left stick should be held out slightly further (at

50) to facilitate proper mechanics. The arms and shoulders should be relaxed. Provided the above

checkpoints are maintained, they will fall into the correct positioning naturally.


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Dynamics / Heights

Heights are used to define dynamic levels in playing. It is important that a strong grasp of heights, and

consistency from player to player are achieved in order to maximize sonic and visual clarity. Heights

will be labeled using a measurement of inches, but will be actually defined by the degree of wrist turn

used to achieve them.

3 - Achieved by bringing the stick horizontal from playing position.

6 - wrist turn.

9 - wrist turn.

12 - wrist turn

15 - full wrist turn (vertical)

18 - full wrist turn plus arm. (stick never rotates beyond vertical, but may be extended

upward)

NOTE: If proper playing position is not established (i.e. the angle of incidence is greater than 22.5), itis impossible to achieve proper heights while playing. A quarter of a wrist turn when the left hand is

elevated, will result in a significantly higher stroke than when it is properly positioned.

Stick Motion

Stick motion is built upon proper setup. Extreme care must be taken to ensure correct grip, angles,

beads, etc... are maintained. When playing, sticks should travel along a plane which is perfectly

perpendicular to the drum. Common mistakes include slicing (taking the stick up and down on a path

angled away from the drum head), and circular or elliptical stick paths. You should regularly check for

the correct plane by playing while facing a mirror at an angle.

Different types of strokes use a range and combination of fingers, wrist and arm motion. It's important

that an emphasis is placed on relaxing the muscles and utilizing the rebound of the drum to the

maximum extent possible. The snare drum is a highly aggressive instrument, and requires a great deal

of velocity to produce a full, pure sound. This does not mean we squeeze the stick, or smash the

drum. Tension is the enemy. An efficient, aggressive stroke released through the drum is the key to

producing a great quality of sound.

Upstroke

The upstroke is always initiated from the wrist. In the right hand it behaves as a lever, hinging to bring

the bead up to the appropriate height. In the left hand, the wrist motion is rotational.

Developing a proper upstroke in the left hand requires a great deal of work and training to achieve the

range of motion required for higher dynamic levels. Avoid shortcuts, such as jabbing the left elbow

into your side, or raising your left forearm to achieve rotation. Work within the range of motion you

can achieve, continually stretching and pushing a little further each week until you can accomplish full

rotation without compromising proper setup and positioning.


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Legato Stroke

The legato stroke is the least restrictive, and allows the stick to fully rebound after striking the drum.

Beginning in the up position (after having performed an upstroke, or rebounding from a previous

stroke), a down-stroke is performed, releasing the bead through the drum head. The hand then

follows the stick back to the up position.

All of the energy required to return the stick to the up position is provided by the rebound of the

drum. This is akin to dribbling a basketball. You would not push the ball into the ground and pull it

back up. You simply release it, and your hand follows it back to the top. When a legato stroke is

performed properly, you should be able to feel this stick resonate in your hand as it rebounds. In the

right hand this stick is allowed to breathe in the middle, ring and pinky fingers. In the left hand, the

stick is allowed to breathe in the connection to the cuticle of the ring finger, allowing resonance. This

does notmean you cock the ring and / or pinky fingers back!

Generally speaking, the legato stroke makes use of the wrist and / or fingers to provide power to the

down-stroke and control of the rebound. The larger muscles of the arm should not be actively

engaged, but should be relaxed and allowed to move freely (not rigid or tense). As tempos increasethe larger muscles of the wrist disengage (but remain relaxed) as the smaller muscles of the fingers

begin to take over wholly.

Marcato Stroke

The marcato stroke allows for a more controlled rebound of the stick, and is played primarily from the

wrist and arm. Coming from the up position, the fingers of the right hand stay closed around the

stick, and the cuticle of the left hand stays firmly attached as the stroke is played through the head.

The wrist and fingers then provide the appropriate restriction to the rebound as they follow the stick

up.

Marcato is used primarily when playing at lower heights at slow to moderate speeds. The stoke allowsfor the velocity and energy required to achieve a full sound at these lower heights, while providing the

control required to prevent the stick from over-rebounding.

While the stroke is more restrictive, this does not mean it is squeezed! The stick should still be allowed

to resonate, though to a lesser extent than in legato.

Staccato Stroke

The staccato stroke is the most restrictive, and is used to stop the stick at playing position after a

stroke. The stroke is played through the head, and the wrist and fingers simply stop the stick at playing

position. Again, this does not require a squeeze of the stick, just a firm grip.

Staccato is used frequently in Accent / Tap passages (the accent would be a staccato stroke), andreleases.


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Etude

Please be prepared to play the following etude individually, beginning at rehearsal mark D @ 110bpm.

Dojo - Snare Audition - 2013 Copy

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