Helpful Marching Percussion Techniques Part 2: 

The Snare Drum Grip

 by Richie Viano

The first thing you should know about the snare drum is that it has a rich and amazing history in the marching music genre. It has been invented, tweaked, perfected, re-invented and re-perfected by “masters” long before Rich Viano had any interest in playing.  My personal knowledge comes from great teachers that I was lucky enough to train with, observe or meet.  Just as a young jazz student should get to know Coltrain, Miles, Bird, Williams, etc., I think all drummers should take the time to gain knowledge and history about Tom Float, Dennis DeLucia, Al Murray, Ralph Hardiman, Thom Hanum, Marty Hurley, Jim Campbell, Scott Johnson, Charlie Poole, Tom Aungst, Mark Thurston, Chris Thompson, Mike Back and many, many more.  These are the teachers that have influenced my style and opinions of snare drumming and marching percussion. 

With that said, it’s also good to know that there are several different approaches to technique and style.  Let my suggestions be a guideline.  This week’s feature will break down the grip.  Look for future articles on Style and Strokes.

GRIP 

There are two types of grips, Matched and Traditional.  Matched grip is when the two hands mirror each other. The traditional grip involves the left hand taking on a separate grip and stroke that is drastically different from the right hand.  No matter what grip you choose, staying relaxed and loose is the ultimate goal.  Tension and drumming do not mix.  Your shoulder and upper arm should always be in their natural position.  The elbow should be very relaxed, but not laying against the body. First, let’s break down the right hand, because it is the same in matched or traditional.  I don’t want to make this too scientific.  Here is a quick way to “set” the right hand. 

• Have your kids hold the stick the way that “they” feel it is most comfortable.  A lot of the time, the kids find the correct position naturally.        A common thing to look for first is where they set their hands on the stick. I find that leaving an inch and a half of stick out of the back of the hand is a good place to start.  This is one of several areas that involve a player’s personal choice.

• The next thing I do is re-set the “fulcrum point”.   The point between your thumb and first finger is known as the “fulcrum” or a balancing point.  I tell the kids to picture a line splitting the stick in half horizontally.  I like the thumb to sit on the top half of that imaginary line.  It creates a seal between the thumb and first finger, which in turn facilitates better control.  I don’t believe in having a gap of space between the thumb and first finger.  Some teachers prefer the thumb on the middle of the stick.  As I alluded to earlier, there are several different approaches.

• The back three fingers are next.  I tell my kids to let those fingers lay relaxed, wrapped around the stick.  Young drummers have a tendency to leave the pinky and ring fingers off the stick when they play (usually when playing faster).  I think it’s important to monitor that “trait” very carefully, because it can hinder advanced control capabilities later down the road. 

• Setting of the wrist can draw the most debates.  Some teachers like the wrist parallel to the ground, some like the thumb sitting straight up and some people like a variety of spaces between the two extremes.  I happen to be one of the “in-between” people.  I have noticed when the wrist is parallel, the elbow naturally points out and when the thumb is straight up and down, the elbow naturally lays against my body.  I like the elbow a little off the body, but not straight out.  If you turn your thumb half way between the two extremes, I find that to be the most comfortable as well as natural. The left hand is set up exactly like the right.

TRADITIONAL 

The right hand is the same as matched; however, the left becomes it’s own “monster”.  This grip was designed to accommodate snare drums that were carried with a sling.  Even though carriers hold the snares level, this grip has remained a popular technique.

• Have your kids extend the fingers of their left hand out like a handshake.  Pull the thumb back until it creates a “90 ° angle” with the first finger. 

• Place the stick in the angle made between your thumb and first finger. 

• Pull the first finger over the stick until it meets the thumb.  I like to see a “T” created at the contact point of the thumb and first finger.  As a teacher you realize that hands come in many shapes and sizes.  The diversity of hands makes it hard to standardize exact location of the finger or thumb.  Ultimately, the player must feel relaxed and be in control of the stick.  I rest the stick on the natural curve of my ring finger.  The stick is between the bottom half of my fingernail and the top joint of that finger.  Here is another place of debate when trying to nail down an absolute reference.

• The pinky and the middle finger exist in the closest proximity of a natural position.  The middle finger, of course, lies over the stick, against the first finger, while the pinky follows the natural curve of the ring finger above it.   When I relax my left hand (without a stick in it) my fingers naturally lay in a semi-closed position with my fingers curved, and my first finger knuckle down to my ring finger knuckle is naturally graduated.  My pinky follows the natural curve of my other fingers, but there seems to be more space between the pinky and the ring finger. 

I don’t believe that a technique should alter the natural position and curve of your fingers.  Drumming is a personal activity.  Of all the great drum set players in the history of drumming, you would be hard pressed to find identical left handgrips.  You will find a lot of similarities.

The two grips work well.  There are considerations to be made when choosing what grip you will teach.  I am not going to tell you which one to choose because there is not a right or wrong choice.  I will suggest a few items you may want to think about when teaching young kids to drum and I will comment on my personal beliefs. 

1. Is the grip you choose applicable to any other percussion instruments you play?  When teaching kids as beginners, I think you should choose the match grip.  Whether you play snare or bells, the grip and stroke have numerous similarities.  I would rather have a student focus on a simple game plan to start and then make upgrades, as the student becomes increasingly proficient with the basics.  You can play traditional grip on drum set and in symphonic settings.  I love the grip.  I play traditional grip when I drum but I recognize the value of match grip and its multi-tasking capabilities. 

2. Historically, my new students come to my program playing what grip? (High School teachers) When the new freshmen come to the first winter practices, they usually all come playing matched grip.  I like to give all the kids a chance to earn a spot playing the instrument that they like.  I have a few rehearsals where we all play on workhorses in front of mirrors.  When I am setting the line, choosing match grip allows a student the opportunity to work out with the snares without the liability of having to start all over again if the snare line doesn’t become their final destination. I see that as a huge advantage.

3. What grip do the kids want to play?  If you have a veteran group and they want to work at traditional grip, I am all for it.  I like to have incentives when teaching.  I like seeing a group taking on challenges.

As I said before, these are choices and not absolutes.  I rely on my personal experiences when I teach.  I take responsibility for giving these kids a smart approach that will be adaptable to other instruments and other teachers.  My styles and techniques adapt.  My approach to teaching adapts.  I use what works and I keep my eyes and ears open to anything that works better.  If they made better and more efficient fuel for your car, wouldn’t you buy it? 

Good Luck! Richie Viano 

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