PERCUSSION

As young percussionists develop technique on snare drum, mallet instruments, and drum set, they usually go through a “trial and error” process. Students may experiment with various methods before making a final choice regarding how they hold their sticks/mallets.

How can teachers influence these choices and respond appropriately to the music at hand? One point to keep in mind is that there are many ways of holding a pair of sticks, and a technique that might work well for one student may not be beneficial for another.

Regardless of which hold a student chooses, it is important to maintain a comfortable form when holding the sticks/mallets to eliminate body tension. The wrist, forearm, and fingers should remain relaxed in order to execute an even flow of dynamics, accents, and tempos. To help achieve this, have your students practice their technical exercises in front of a mirror. You can also try videotaping each practice session. This will allow students to self-analyze their form and make adjustments quickly.

Matched hold (see above left picture): Most educators teach the matched grip because it is easier for younger students to develop a consistent sound with hand to hand. The matched grip is also used when playing mallets and timpani, so teaching it initially will permit the student to develop endurance and technique that translates to other members of the percussion family.

Left hand traditional hold (see above right picture): The principal alternative to the matched grip is the traditional grip. The motion the wrist makes when playing traditional is a rotation, the degree of which depends on the desired dynamic level. Traditional grip can be used as an alternate hold when playing snare drum and drum set. Many jazz drummers use this grip because it works well for acoustic situations and with brushes.

“I spend a good deal of time demonstrating good technique versus bad for my students,” says Christopher Zwarych, percussion coordinator at North Warren Regional High School in Blairstown, New Jersey. “For example, I’ll tense up at the elbows and try playing with just my wrists and fingers to demonstrate muscle tension and how it affects sound production and facility. The expression and performance of music cannot be made into an absolute of ‘this grip is right and this grip is wrong.’ As long as we’re expressing the music with proper intent, dynamics, and not playing with tension, we’re making good music.”

As students continue to build a strong musical foundation, investigate as many approaches as you can and encourage them to organize their ideas in a practice log. If a certain technique works for your musical situation, apply it. If not, disregard it. However, it’s advisable to examine all aspects and be open-minded to each approach.