Technique

HAND TECHNIQUE
"Shoot from the hip if you must, but always play from the wrist." - Mike Mangini
There are tons of different ways to manipulate your grip while playing drums. I base my playing generally around matched grip and a modification to the Moeller technique. I prefer matched grip because of the power it allows me to use while playing, although I'm sure with enough practice I could come close to being that forceful with traditional grip. I hold the stick in between my thumb and the first joint of my index finger. The stroke is made entirely with the wrist with no tension in the fingers or arm. I rely entirely on stick rebound. Imagine what it's like to bounce a basketball; you don't pull the ball back up, you simply force it down each time and allow physics to handle the rest. This is the basis of the Moeller technique. It allows me to perform fast single stroke rolls and move around the kit without expending energy or growing tired. Occasionally I will switch to a thumbs-up grip while playing certain patterns to allow my fingers to snap off 3 or 4 notes in very quick succession, but to begin with it's best to focus solely on getting proficient at one specific grip.
Here's the concrete anatomy instructions for beginners to properly set a drumstick in your hand. Open your palm and place the stick diagonally across it with the butt end resting on the transverse carpal ligament, which is located slightly above the wrist and dead center in your hand. If you're still unclear about where it is, imagine a line drawn from your middle finger straight down your hand. The point just above the wrist is where that ligament is. The upper butt area of the stick should be resting against the first joint on your index finger. Relax the tips of your other fingers against the butt end of the stick; this grip creates a fulcrum between the thumb and first joint of your index finger. I generally modify where my fulcrum is multiple times during any given song, depending on what I need. Remember to stay relaxed as well; muscle tension creates friction, and friction slows you down.

This image shows how the stick and hand look when they are properly set together for playing.

This image shows another view of the same grip, drawing more focus to the linear nature of the limb system.
Oh yeah, I sort of touched on this above indirectly. Always make sure you use stick rebound to return the stick to a raised position. If you start with the stick close to the head, to make a single stroke you have to raise the stick to the appropriate height, then drop it to the drum, then resist rebound to hold it there for the next stroke. What a waste of energy!! If you start with the stick raised, force it down, then allow the rebound to carry the stick back up, you save energy and time, and that always translates to speed and control.
FOOT TECHNIQUE
When I say foot technique, I'm referring specifically to playing either single or double bass. I've found that hi-hat independence has come naturally as a result of focusing on double bass, so that's what I'll present here. There are as many ways to play a pedal as there are to grip sticks. I never play heel-down, although I know a great deal of drummers who do. I've never felt comfortable with it though. I play very close to it, however, by keeping my throne somewhat low and my heels only slightly off the footboard. This "floating" technique is what allows me to play fast 16th and 32nd notes cleanly and without growing tired quickly. I move my foot up and down the footboard depending on what I need to accomplish in the song. If the part I'm playing is a very fast single stroke roll, I move the ball of my foot to approximately halfway up the board. If I'm playing extremely forceful (but slower) rhythms, I tend to move my foot close to the chain so I can really push into the bass drum head. The only way to truly get comfortable with pedals is to experiment with foot positions to find the "sweet spot" where speed, power and comfortability meet.
A lot of people have trouble staying relaxed and loose when playing double bass or sometimes even single bass simply because they don't have their hip flexor trained instinctively. They seem to tense up and try to slam their feet on the pedals to make things happen; in reality that's a sure-fire way to put yourself up the creek. The hip flexor helps control the first half of the stroke in each leg if you are playing properly. However, not all of the motion is in the leg, and not all of it is in the ankle and calf. It's a combination of muscle groups working together. Also, a lot of people seem to miss the fact that there is an upstroke when playing double bass. When you play, you strike the first note with your hip flexor, then the upstroke is made by the ankle/calf together. This is the essence of speed and flexibility on multiple pedals.
PEDAL AND HEAD TENSION TRICKS
Sometimes we are limited by the hardware we use without even realizing it. Here are some tricks you can use to improve your playing by getting the most out of the tools in front of you.
- Bass Drum Head Tension: Keep your bass drum heads tensioned fairly loose; tension them just one turn past the "wrinkle" point. They'll sound like machine guns and help control rebound bounces.
- Bass Pedal Spring Tension: The spring tension on your double bass pedals makes up part of an equation. A stronger person can get away with high tension because they have more muscle to control the pedal. A weaker person will do better with lower tension because they can move the pedal more comfortably. I use a very low tension on my pedals not because of poor muscle development, but because it places me in complete control of the pedals at all times. Everyone's preference for tension will be different.
- Bass Drum Beater and Length: If you plan on playing heavy double bass beats or blast beats, get yourself two wooden beaters instead of the felt ones that probably came with your pedals. Also, when adjusting the length that the beater comes out of the pedal, always make sure it's as close to maximum as possible. It gives you more momentum when striking the head and adds power without you having to add effort.
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