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0:05[Music]
0:10Jim Chapman is best known as the
0:13originator going back to about 1940 of
0:16the coordinated independent skills
0:18associated with jazz hands and feet
0:21soloing against the cymbal ride Jim
0:24credits a portion of his development of
0:25independence to the analytical one hand
0:28at a time approach of his teacher
0:29Sanford Mullen who was responsible for
0:32many of the exercises in this video
0:34mr. molar died in 1960 and Jim continued
0:38to see him up until that time his course
0:41of study however was a much shorter
0:43duration sixty lessons to a week between
0:46November of 1938 and July 1939 quote I
0:51could keep you here Jim smaller said but
0:54you're doing my system as well if not
0:56better than anyone I've ever seen end of
0:59quote
1:00this video was about an technique more
1:04exactly it concerns the quest for
1:05maximum speed and power with minimum
1:08physical exertion often the most
1:10lightning like single strokers find that
1:12pulling accents out of the roar can be a
1:15problem with this system accenting
1:17becomes a pleasure enhancing rather than
1:20detracting from speed and endurance many
1:23drummers especially those with strong
1:25techniques play this way consciously
1:27some others who are excellent players to
1:30have survived teachers who provided them
1:33with a veritable maze of misinformation
1:34from fairly competent to terminally
1:37hopeless they have altered by trial and
1:40error their non-functional hand motions
1:42and in fast execution can offer a good
1:45simulation of the accenting suggestions
1:47presented here it seems that anyone who
1:50can accent well at speed must play in
1:53this manner and finally may be able to
1:55achieve it automatically
2:07hello I'm Jim Chapin and I'm here in
2:11your living room or in your store or in
2:14your school and I would like to talk to
2:16you a little bit about the techniques of
2:18drumming especially as they affect the
2:22snare drum especially is the fact as
2:24they affect the way you approach hitting
2:27the drum now I studied about a little
2:31over fifty years ago I started studying
2:32with an old man named Sanford Moeller
2:34very tough old man I went to him and I
2:38said Here I am mr. mole I'm ready to
2:40study with you says and I'm he says well
2:42play for me a little bit I played and he
2:51said kid you don't know anything do you
2:53well that was the start of a of a
2:57delightful friendship and a very
3:00difficult to seven months because he
3:03really put me through the wringer but I
3:05came out the other end
3:06and at that time he said you've done a
3:09gym you've done everything I've asked
3:11you and more and I would like to I would
3:16like to say that you don't have to come
3:17back anymore so they come back every
3:18month or so and I want to see how you're
3:20doing but as far as you've learned that
3:22the Moeller technique as well as anybody
3:24I've ever had I said thank you very much
3:26sir now this guy was the kind of a guy
3:28that that would he made drums he made
3:32beautiful old fact that the US Army Band
3:35still has some a Vista of his snare
3:38drums
3:38he took a snare drum one day in the late
3:4120s and about 30th of June I guess and
3:48he walked to Boston and what marching up
3:51in the July 4th parade in Boston and
3:54turned around and came home drumming all
3:56the way and they people I said why did
3:58you do that he says I love to drum and I
4:00like to walk in the country
4:01so that's that's the kind of a man he
4:04was and I'm gonna show you some of the
4:07techniques I'm gonna lead into some of
4:09the techniques I should say that he
4:11showed me first I'm gonna start by
4:14exploring a little bit of the the French
4:17timpani and the German timpani and some
4:21other ramifications and tell you that
4:23basically I'm a traditional grip of
4:29player but that I most of my teaching is
4:31done to match grip players and I say
4:33that and you realize that I'm using
4:35pretty heavy sticks and you'll say why
4:37is he using those heavy stick I use any
4:39stick I use sticks twice as heavy assist
4:42sometimes I use stakes that are like
4:44little pencils I'm playing with the
4:46piano trio the stick has no significance
4:49but people say practice with the stick
4:51you play with I would say which stick is
4:53that one Munson today I'm playing with
4:56one stick tomorrow we'll be playing with
4:57another so these are moderately heavy
5:03but they're not extraordinary I could
5:09play a speech job with this or I can
5:11play a rock jump the first thing was the
5:20old French timpani method presuppose
5:23that you're gonna use a lot of fingers
5:25because you're rolling across between
5:27the thumb and the forefinger and you're
5:30playing pretty much Harrell
5:36the sticks are powerful they're not an
5:39angle like this
5:41and accents are made sort of with a
5:44little sort of of a speeds and a push so
5:48you're rolling across the four fingers
5:50like this this has one great advantage
5:57it's right in front of you and single
6:01turn what done very well this way cuz
6:03your your fingers are right under the
6:06thumb and you can you can play fairly
6:09rapidly this way I don't play very well
6:12that way but it's it's part of my
6:15technique I'm still learning
6:17now you would say that this had a lot to
6:22do with fingers and these fingers in
6:25under the thumb are working quite
6:29significantly but in the German timpani
6:33method which means that the hands are on
6:35top like this you're working more from
6:41pronation the accent here is also kind
6:59of a little push and the sticks instead
7:01of being a parallel
7:03alright sort of a 45-degree almost all
7:08snare drum teachers came from the
7:13symphonic school play the play or three
7:17teach this way because it's very
7:20accurate your writing you hear you're
7:23pointed at the drum the sticks are our
7:26plate with that
7:29kind of a little severe kind of a push
7:34accent but the disadvantage of this is
7:38that you have to change it go fast you
7:41can't do this very fast you can't do
7:46this very fast what you have to do and
7:50what all players do even if they don't
7:52know about it it's change from this from
8:04this one 1 1 1 1 1 11
8:12watch 5 watch by this wrist right here
8:15now watch the change
8:18watch it now again now watch it
8:26obviously that's gonna go faster because
8:29I'm only making one motion hangover here
8:32I can't do that fence most people do
8:36this automatically
8:37they might may think they play this way
8:40they think they play play with a Germany
8:43method right here otherwise they don't
9:00now what am i doing this so different
9:02well instead of this I'm making a little
9:06flick with my wrist here like that that
9:08means I would started a sequence of a
9:11sequence of beats
9:13I'm not going 1 1 1 1 1 1 1 and watch
9:19the difference here 1 1 1 1 1 1 11 11
9:22motion here three motions most
9:34difference I remember I don't play match
9:43I don't play match script by play
9:45traditional emotion there's not 1 1 1 1
9:501 1 11 at motion it's if I was gonna do
9:58this and teach it in the way molar
10:02taught it I would say imagine you've got
10:05heavy crankcase grease on the tips of
10:07these fingers and you're gonna shake it
10:09off at the ground this is where the
10:10traditional whole now
10:16it's not a portion like this it's a push
10:18alright bar so might one my three hits
10:24would be just a loud tap and two other
10:28thing
10:29Moeller call this the downstroke in that
10:32the hand was going down don't confuse
10:35this with other Navon clinches when
10:37people say this is a Down stroke then
10:38this is an upstroke it is but the mole
10:41and the molar and the molar LexA can the
10:43mom and the in the nomenclature of the
10:45molar system this was a Dallas joke this
10:47is a downstroke now I'll show you what
10:50the upstroke was here is the here's the
10:52down down stroke and then there's a tab
10:54this is in triplets I'm dealing in
10:56triplets because it's the easiest hand
10:58hand motion now let me take that apart
11:05do that one motion in the right hand one
11:13motion but three hits so I'm hitting
11:17this whipping stroke then attack almost
11:22occurs then I'm after get this stick in
11:26this position again to make that
11:28whipping stroke so I hit going away this
11:32is what he called the up stroke down now
11:42you notice something you don't see this
11:44you're not seeing this easier you can do
11:50it this way I can do it this way it out
11:52of the German timpani method but it
11:55doesn't have the freedom it has out in
11:57here
12:01that one motion is much harder to do
12:04this one but this is easy same over here
12:09here's that here's the traditional left
12:12hand down tap keep going away hip joint
12:17towards the pad i tap and then it going
12:20away notice after that whipping stroke
12:26I'm accepting your rebound so let's do
12:38it together
12:39amazing - down stroke smolder down so
12:42this doesn't mean that you have to
12:44suspend your idea of what a Down stroke
12:46an up stroke is if you heard it from
12:48other people
12:49this is you're speaking into about the
12:50molar the mole and molar naming of these
12:53things this isn't this is a quit being
12:55stroke is two down strong I've been
12:56doing a series a Down stroke now I'll
13:00turn I'll I'll turn this into a trip
13:21[Music]
13:33I'll slow it down
13:36now watch the successes this is what
13:39looks pretty ridiculous to take it apart
13:40to this extent but this is how more
13:43say you have a car and you're a
14:19pretty nice car and you goes up to 60
14:21miles an hour no problem 60 develops a
14:24little shape so you have a friend is a
14:26mechanic the mechanic says give me that
14:29guitar let me look at it it says like it
14:31does a lot more in that car than you're
14:33getting from it now so you give him the
14:35car and he puts the the machine on it
14:38neat times it gets the cylinders when
14:40when they're when you give it to him
14:43they're selling the sounds but you get
14:44tickle tickle tickle going to click on
14:46you get it back for two days later and
14:49you hear
14:52on the road and you take it up to what
14:57you think is 60 miles an hour
14:59you only found a speedometer your foots
15:01been the same place you know you haven't
15:04changed anything
15:0487 the motor is now synchronized
15:08everything is going together you're put
15:11to you it's put together and you're not
15:12no longer working on on six or six
15:16cylinders instead of eight it's going
15:18like this not like this anymore you go
15:20on you're up to 90 miles an hour and you
15:24look at the thing how is that possible
15:26well that's what that's what San Fran
15:28mola did for me 50 years ago made me do
15:32this okay
15:33here's here's one hand at a time Townes
15:36Joe big whip see how I'm coming back
15:41coming right back to here and stop him
15:44that isn't it my my hand my arm hasn't
15:46moved out to this now you see I'm not
15:54coming back like this he didn't want to
15:57see the palm of your hand that he had
15:59that in common with another teacher
16:00named Jay burns more of which I'll speak
16:03more ablator down down same over here
16:17Gibbons trouble same a trip now if you
16:30hypnotize yourself you can almost
16:34believe when you look at this video say
16:39that old man is not really playing those
16:42things is a force field in here start so
17:01much I'm doing it loud it's like
17:13throwing a ball at the ground and
17:16wanting to bounce up to the third first
17:18story if I do it a little softer
17:24it's like dribbling a basketball if I do
17:31it quite softly it's like flicking water
17:33off the touch the tips of my fingers
17:37sitting over here so I'm getting ahead
17:47of myself that's an exercise you're
17:48going to see you later now if anybody
17:57tells you that there's only one way to
18:00hold the drumstick you have to look at
18:05them in disbelief because there is no
18:08more wandering thing than the fulcrum of
18:12a of a of a handhold
18:17when you're really playing loud one time
18:20and soft another time
18:22now what just from what we talked about
18:25so far watch how the fulcrum has changed
18:28right here I'm doing I'm playing the
18:32fulcrum is out in here for the I'm
18:35playing a sort of a French Tiffany
18:37method right now if I want to get a
18:39little loud in my right hand look where
18:41it's changed to I'm no longer holding it
18:43out here I'm holding it with this this
18:46finger around it sort of like that
19:13this is not as good as as not as good as
19:44for accent as as the moment system but
19:47then again here is what the difference
19:49we're in the German temporary mode now
19:51I'm doing the German I'm going chairman
19:53Tiffany moe
19:59now inside this German Tiffany method
20:03yeah I'm doing it purely pretty purely
20:06now one one one one one
20:08but I can also in spite of the fact that
20:11I'm not really out here in this other
20:1390-degree position that I'll talk about
20:15in my hand instead of playing with a
20:23flat hand like this I didn't want to see
20:44the inside of your hand they they didn't
20:46want to see that they wanted to see the
20:48back of your hand now if I'm out here
20:50watch what happens if I'm not doing this
20:52I'm not doing wrist pronation not doing
20:54this I'm coming up with a forearm turn
20:57now watch wrist pronation I can only get
20:59to this point this is this is a symptom
21:01or symptomatic of the German German
21:04timbi that you're coming up this way and
21:05this is what you want to see at the top
21:07you want to see the inside of your hand
21:09molar and Jay burns more didn't want to
21:11see that they wanted they wanted that
21:14the roll out like this so it was forearm
21:18attorney not this they wanted the
21:20forearm to turn this way a little bit
21:22that one reason for that is that you can
21:24only go to here if you're holding the
21:25sticks relatively tight you can only go
21:28to their plain German template now watch
21:31to the difference watch watch me I'm
21:33gonna trip my wrists get out into here
21:35now I'm playing essentially what burns
21:45mortal
21:46which is like a big tap which II I I
21:50like him too a karate chop like this
21:54ball boom but you're here now he that
21:57they didn't want to see this watch me
21:59now I mean the burns more and the burns
22:01more tradition but I'm playing it wrong
22:04see where I am I can't I'm back in this
22:08position I can't come out all the way
22:09because I'm my wrists when we go this
22:11far back however if I do this see
22:17because I'm rolling my forearms I'm not
22:21way out like that that's too far don't
22:23come up to here and then it works fine
22:27up to there but then you have to roll
22:28out you can't come up this way and then
22:30go like that cuz that's as far as you
22:31can go you can do it but you can't even
22:33hit you put burns more and Moeller they
22:37were exponents of military drumming
22:41really be able to happen when I when you
22:57go fast little adjustment you have to
23:02make you have to bow this wrist and get
23:06that one two three this isn't on you by
23:08the hand hand trip was I said the
23:10easiest hand-to-hand motion there's a
23:12trip
23:13[Music]
23:22[Music]
24:36from the beginning
24:39remember what remember I said molar all
24:41it was now
24:58the difference in that in the way the
25:00wrist the wrist is doing this the other
25:02was doing that now soft I can turn this
25:08like this is this is just the position
25:12here this is German tip I call it jump
25:18but I can do that little little thing I
25:20would call this this a modified soft
25:24burn it's more because it's out here as
25:31opposed to this this comes up like this
25:33this comes up like this see the
25:34difference one is this one is this okay
25:41now you can see watch the position of my
25:47hand now if I'm doing it very lightly
25:51where am I well I'm way out of here in
25:56that position I talked about before if I
25:58roll it back here so it has some kinship
26:03with this see if I just roll it back
26:06let's cover this fairly recent so I mean
26:09that proves how how many things you can
26:13probably discover for yourself by not
26:15being caught in what I have to say or
26:17what anybody else has to say think for
26:20yourself and if somebody does is it'll
26:22show you something that's good
26:23believe it or discard it but examine it
26:31this is this is basically the white hole
26:35for French timpani but it's also if I
26:38move the thumb over here a light hole
26:42that I could use for German timpani and
26:47coming over here it's a light hole or
26:51burns more or more right out in there so
26:55you actually these fingers are all I'm
26:56not I'm I have all my fingers around it
26:59but the main pressure points are here
27:01now if I get a little louder though
27:03that's not so good why because just to
27:07hold the stick in my hand when I get
27:09louder I have to squeeze too hard now
27:14so what do I do well I got a little more
27:17friction if I move from here back to
27:21here and let it slip along before fit
27:25what does that mean French Tiffany look
27:28how many times you've seen that's the
27:43that's the typical it's actually it's
27:44watch the where the where the in the
27:48French Tiffany here it is going across
27:51towards my body almost here the line is
27:54direct down here and it's going across
27:56this crease here but it's kind of
28:00do it loud it's kind of sliding along in
28:04here and the hole is here almost like
28:07that except out here I probably use two
28:10fingers but it has elements of that
28:12think of the elements see that finger
28:15there now watch it now put all my
28:18fingers on it it's not not that I'm not
28:20that I'm I only use this finger all
28:22these fingers but the main hole is here
28:25between here and here and maybe a little
28:26reinforcement from this finger and it
28:29slides along here that the fulcrum is no
28:31longer out here now it's another not
28:33only only change back it's also going up
28:36one notch in my finger it's going back
28:38to here so I got that so now watch that
28:43watch up what when I'm out here watch
28:44that same thing my whole hand is around
28:47it
28:48but I'm sliding along here I'm no longer
28:51I'm no longer in that position where I'm
28:53flicking ward off the tips of my fingers
28:54I'm more like dribbling a basketball now
29:00that's pretty funny stadium players the
29:05guys that have to play with with these
29:07huge against these huge amplifiers and I
29:10have amplified drums themselves but
29:12oftentimes in not as powerful as the
29:15amplifiers for the for the for the Basin
29:18and the guitars they have to play so
29:20loud that just a hole the stick in their
29:23hand they have to have a lot of meat on
29:25it otherwise they get all sign of
29:27calluses and everything so you can see
29:32what a house stiffly I have to hold this
29:34stick to hold it out in here right I
29:36have to squeeze and have this but when I
29:38get it up in here a little bit not so
29:41bad see I've gotten a little friction so
29:44mistake my arm is pretty loose when I do
29:47that here
29:47great lip control oh this is not much
29:51control at all here but look where it is
29:57it's way back in my hand
29:58Moeller call this a little finger holes
30:00now if you thinking of some of the guys
30:05that played back
30:10they're pretty much doing that too and
30:14if you're playing very loud but out here
30:25this is like taking a ball and trying to
30:29bounce it as high as possible you're
30:33where the stick is my hand way back in
30:34here now up in here you're pulling from
30:47your little finger you're you're digging
30:49your little finger into it and pulling
30:50like this so the stick goes way back to
30:52here see look where the where the where
31:03the hand hole is way down in here and I
31:07don't let it go up in there because that
31:08that ruins the whole thing so I'm so I'm
31:10just gets it to do well to uncontrolled
31:15but the control goes between here here
31:17and here
31:18and you and you see Helen multimeric
31:21major used to make you do this and push
31:23down here and hold me a little finger
31:26[Music]
31:39[Music]
31:51[Music]
32:11[Music]
32:18[Music]
32:28when we're talking about I like to tell
32:53you how to get into it now one of the
32:55best ways Moeller always said drop your
32:59hands at your sides now this I'm talking
33:00about about Matt's grip now or I can
33:03talk about traditional grip too but this
33:06is the way where you put your hands from
33:08match grip just put your hand up like
33:10this hang it there neither like this so
33:12I just hanging not like this but just
33:14that little Bowl there put the stick in
33:18there like that put the stake and other
33:19stick in here like this now here
33:23now think of it in the beginning you
33:26think of holding a fledgling bird in
33:29your hand a bird that that would escape
33:31if you if you let it let it fly up move
33:34around too much but you don't want to
33:36hurt it so you're holding a stick sort
33:38of like that maybe a little pinch out in
33:40here and just try to get this feeling of
33:45throwing so one of the ways to do it
33:50play your own triplet like this and see
33:54that animo Lee didn't let you do this
33:55smaller one went for over a different
33:58thing he went right from the beginning
33:59slow but I kind of discarded that for a
34:03while in fact I didn't even do it the
34:05big thing for a while many years ago so
34:08I was cheating my students so I'm going
34:10back to it mostly what I'm doing now I
34:14see what they can do this way and if
34:17they can't do it I go right away to this
34:22this method of making every motion like
34:26here's it
34:28here's the molar downstroke and then you
34:30fly back
34:34see I'm flying back and I don't move
34:35from here now when I make the tap here's
34:39the town notice you can't see in the
34:41palm of my hand it's not it's this down
34:44yeah now here what should watch the
34:47third hit down map and I'm hitting a
34:51regular tap but I my hand begins to go
34:54up that's it that's the molar upstroke
34:56not the upstroke for all or for all
34:58seasons there's a molar up show down
35:00that up and you're in this position
35:03again down down now a way to get this to
35:10put put the two hands together if you
35:12don't understand is to kind of ghost the
35:15left hand if you have to have problems
35:24doing it and most of all one of the most
35:28important things is look in a mirror you
35:31really can sometimes you you think
35:33you're playing both hands the same in
35:35one hand will be like this and you're
35:38saying you can't really really see it
35:39but if you look in the mirror you can
35:41see a lot of errors so yeah here's the
35:46ghost stroke
35:50same what we're here
35:56now here's one of the things that moment
35:58didn't later on was to do this and then
36:00slip the other hand and then then when
36:23you get the idea that you can do it then
36:26then here's another it exercise or just
36:31take your own own triplet and put it
36:35like this and and just make the push
36:38accent away your grassipat thought once
36:42you hear it say I'm gonna not gonna push
36:45for this accent I'm gonna throw for this
36:46act but one thing you have to remember
36:52is you that if you throw for the accent
36:55and don't accept any rebound then you're
36:57gonna get this you're not getting it so
37:02you have to accept the rebound now one
37:08of the other things that Moeller taught
37:10Jay burns more talk George Lawrence
37:12stone of Boston talk he wrote stick
37:14control is stop stop at the top in other
37:20words you don't do this
37:32or you don't do this you start up here
37:38you come right back up there
37:40now look what happens when you do the
37:42other that's when you stop halfway up
37:46this is what you stop at the bottom make
37:50two motions for every hit this when
37:51you're making one motion for everything
37:52except the rebound boom back just call
37:58him stop at the top you don't have to
38:04make this a crusade the only reason that
38:05thing so it wouldn't be how mature they
38:13take you a dirt well like this and then
38:17just play that now here's another thing
38:22you say why this bowing here why not
38:25like not like this well this is a very
38:29easy fun here I'm hardly I could almost
38:32play the whole the hope that the whole
38:35molar and J burns more songbook with a
38:38stick it's tied to my wrists like this
38:41the reason being that I'm very seldom
38:45when I'm playing out in here I do it I
38:47thought a lot I Pro Nate my wrist a lot
38:50in here but here this body I hardly come
38:54back like this at all why is that well
38:56let me show you if you're like this this
39:00is not exactly a position of strength
39:02you want to try this yourself get a
39:04friend or do it yourself pull your hand
39:06down like this ah see when it's bent
39:09back like that's not that strong but if
39:11you do this it's like a bridge just like
39:13that if you if you were gonna get into a
39:15fight you wouldn't gonna come at the guy
39:16like this would you and say come on you
39:19know
39:20yes this is a very strong position very
39:22strong rather than then this this is not
39:24a stronger position is this you can get
39:26tremendous it from this this this bridge
39:30like position here and you can't get the
39:34same hit from here you can you can and
39:37that's that's that's kind of a kind of a
39:39contradiction because if you're right in
39:41here and you want to get more power you
39:45would say that if I was making a whole
39:47bunch of singles I wouldn't want to get
39:49my whole forearm into it so I would go
39:51like this and this is this it might be
40:07stronger for for for playing every
40:10accent push you're working very hard or
40:13he's using for on to that position but
40:21that's kind of a contradiction isn't it
40:23for this believe me it works
40:25this is far stronger than this not for
40:30this because you're getting your
40:31forearms forget about it forget about
40:34the molar system if you're only gonna do
40:35things you're only tapping you have a
40:41variety of ways in this play this French
40:43system is very good in here it's very
40:45good
40:49[Music]
40:51so remember that get back and remember
40:57that position is strength
41:02one of the things that Moeller always
41:04talked about was under real exit
41:06relaxation now he didn't mean that
41:08you're supposed to fall apart completely
41:12he meant that just posted sit back make
41:16your arms hang at your sides that you're
41:19supposed to suspend yourself from this
41:21backbone back here that you're not
41:23having just your relaxation this is
41:26rolling your shoulders and you finally
41:28get getting your arms fairly free now
41:31one of the things that he always he
41:33always insisted upon was that your
41:36elbows when you were playing loud were
41:38supposed to come towards you towards you
41:40if I'm playing soft I'm doing that we're
41:42under the triplet again I'm really doing
41:54that heavy little finger hold
41:59yeah my elbows move now watch watch this
42:02I mean when I'm doing it triplet hand to
42:04hand watch this
42:15the wave goes right down your arm the
42:18thing that comes in first is your elbow
42:20if you're doing it loud the first thing
42:22the elbow comes in almost into the side
42:25like away it's driving right down your
42:27arm see my elbows okay now I'm going to
42:58give you a couple of exercises that go
43:00along with the sheets now this is one of
43:02the nicest exercises because it makes
43:05you do with one hand what you generally
43:07do with two it's fairly simple
43:09it's triplet triplet and then right-hand
43:11triplet
43:21and then I'll do it
43:24traditional role the traditional that's
44:06the first page now this is here that is
44:09in on the same page in the middle of
44:12paradiddle paradiddle and the longer
44:35version
44:42emotion emotion it's for I'm gonna
44:45explain that in a minute now then of
44:47course you have the other version which
44:51in which is is it which is single
44:52strokes right left right left right left
44:58right leg right right right
45:02and the longer version of that that's
45:19what helps you helps you to build that
45:21up is the fact that you're doing the
45:23same thing with one hand just make it
45:30sound the same in there on the first
45:35page you will see the downstroke so what
45:38I'm going to do is I'm going to do one
45:41down stroke one down up
45:43I mean one the series of down strokes
45:45one series of down ups one series of
45:48triplets and one series of in this case
45:50it's going to be sixteenth notes towards
45:51like one one bar of down strokes down
45:55down down down
46:16same the other magic the molar system
46:30gives you kind of feeling of a dance in
46:32midair and because of the novice of the
46:34way your arms moving the way the states
46:36fly for you all this is this is exercise
46:39one and all it consists of is in this
46:45case it's two double paradiddle
46:47paradiddle and then the same thing in
46:49the other side so it's heir apparent
46:58[Music]
47:10[Music]
47:14now the second one is paradiddle diddle
47:18paradiddle diddle parity and the same
47:21thing on the other side now third one is
47:39very strange because it's a minute ago
47:43we did this down up we did it down up
47:51like this not putting I'm putting a
47:54single note in them in the middle of it
47:56but instead of that now I'm going to put
47:57two notes here there's a down up down up
48:02down up down
48:08[Music]
48:26now here's another one the fourth one is
48:29an exercise it's also a paradiddle
48:32little bit it's kind of strange because
48:33you're doing four dotes on one side
48:45watch this this is where this really
48:48shows you where the dance in midair
48:49comes from cause you're going up slowly
48:51watching this other side just this is a
49:06these exercises are designed to show you
49:09the intricacies of the Moller system in
49:12and the way but then the way it feels
49:14good it makes you feel so good to do
49:16these same kind of a comp you feel it
49:23took out you have a feeling of
49:24accomplishment I think now but this is
49:35another another face of it instead of
49:38you've been kind of playing into the
49:40into the drum and getting away from the
49:42drum this is it so you were pulling the
49:45sound out of the drum and the reason for
49:47this I'll show you in a minute it's kind
49:49of a two-way sword you plan like this
49:51and then something and inside he goes
49:52jump and pull pull something out of it
49:54and this is the way it works
49:57Moeller devised a he saw that most of
50:01the guys that really had great open
50:04rolls didn't think into the drum like
50:06this thing they dug into the drum in a
50:09funny way they kind of hit they'd get
50:12away from it
50:14and one of the exercises they did to try
50:17and get the role even was to make the
50:19secondary louder than the first so that
50:21when they finally they when they put
50:23their final result wouldn't be gonna be
50:27so they tried to get the secondary
50:29louder than the first so they do the way
50:33he described it imagine the pan is hot
50:36and the first time you touch it you have
50:38water in your finger it doesn't hurt you
50:39but the second time Wow you know now
50:46this can be done several different ways
50:48can be done like this can be done
50:51up-down or it can be done perfectly
51:00valid things but they're not so good for
51:03this particular particular double stroke
51:05roll when doing that I hold the stick
51:11loosely hit it once then imagine the pad
51:15is hot ow
51:24[Music]
51:40there's another way another way by a
51:57shuffle with one hand kind of pulling
51:59out now those three give you a pretty
52:42good shot at an open role of course I
52:45for years I tried to make a buzz roll
52:47this is where molar kind of screwed me
52:49up in a way I tried to make a buzz roll
52:51in that same strong position I could get
52:53a good buzz in the right hand the left
52:56hand of eluded me I get it
52:58I get kind of a cut-off buzz then I
53:00realized that that's this strong
53:02position perfect for tapping see what I
53:04mean this curve here perfect for tapping
53:06wasn't so hot for the crush roll so if I
53:09go from
53:10a crush roll into an open roll I
53:15weakened this hand for the crush roll
53:18and watch it you say watch it because I
53:21can crush it like it was this way
53:23however I can't very difficult for me to
53:26me to make double strokes can't basic
53:29such a good double strokes that way but
53:31it's very good for the for the for the
53:33crush so I crushed this way one week
53:34left hand now watch what I change see
53:42how its weakened now now it's back back
53:44like this now I'm strong again so much
54:18for the double stroke now now let's do
54:19three same thing wet wet finger Wow
54:25third time it burns the water burns ohh
54:32[Music]
54:42now four to five I want to do but I
54:58won't do that on this see that here's
55:18what happens
55:19I involve my whole arm at that last
55:21minute and by when I hit that hit this
55:26is a stiff for just that second great
55:31function in this next series of
55:34exercises of the ruffs now first of all
55:37I'm just gonna do the double stroke that
55:40I did before like the open roll and turn
55:42it into three stroke rough same thing
55:49for stroke rough and five stroke rough
55:58you do three on each hand
56:05and this is the five stroke ruff also
56:09but in been every time rather than three
56:10then it is three now the next is a seven
56:21stroke ruff and you do four on each hand
56:27okay now if you go any further you get
56:38if you do six on each hand but I'm gonna
56:41only go to do five so it'll be a nine
56:43stroke ruff be parts of the triplets
56:47right now I can add that extra missing
57:03note and do six and and the edge five in
57:06the middle make it 11 I'd like to
57:18discuss now the various hand holes I've
57:22already talked about them but there's a
57:24lot of little ramifications a lot of
57:27little intricacies that it's good to
57:29explore and so you don't get the idea
57:31that that you have to do it my way
57:34necessarily everything this way
57:35everything that any teacher says you do
57:39not do anything that you don't feel
57:41correct and if you can if somebody can
57:44do it better than you can do it you
57:45better learn that way that's what
57:47happened to me but I have certain things
57:49that that I've discovered through the
57:51years for instance a position a large a
57:54large part of it can consist of what the
57:56position of the forefinger is and the
57:58position of the thumb now if I'm playing
58:00a fast
58:01simple but I'm playing a fast temple I
58:03might do one of two things I might do I
58:07might play with it kind of a pinch up in
58:10here or I might might play with what I
58:22call a short thumb which is like this
58:25very short thumb or I might play with a
58:28long thumb which is way up in here
58:30depends on now through both of these I
58:32do with a curled forefinger but this one
58:36the long one has more support from this
58:40finger back here but this one for
58:43instance
58:43now here's it here's another one with
58:45the tip with it with a short thumb and
58:47that's a very tip of the finger I'm
58:49thinking again I have all these three
58:51fingers up I'm dropping and picking it
58:52up
58:53now this no there's no curl forefinger
58:55up here there is no trouble any trouble
59:00with the curl forefinger is if it's too
59:01tight that it tightens you up up in here
59:03you can do any of these things that I've
59:05talked about this is for instance here
59:07it is here is that that light hole got
59:10in here I told you about in the French
59:14grip here it goes through the German
59:16here it is in here it's all out in the
59:18tips of the thing but you can also do
59:20this with a pair of four fingers yeah
59:23Carl the fourth finger now but if you
59:24curl the fourth finger too tight the
59:26tendency is to squeeze so you make sure
59:29that if you do curl the fourth finger
59:30I'm not drilling the four finger at all
59:32I'm doing this one to change give me
59:36troll the forefinger there like this now
59:38watch watch the myriad positions that
59:41the thumb of thumb goes through in just
59:43the molar just the right-hand molar
59:48thing let me see if I can do it now
59:53I'm here I'm here I'm in the kind of the
59:57middle the middle ground in the middle
1:00:01of this stuff is sort of on the side but
1:00:03if I go a little faster the tendency is
1:00:06for me to squeeze close this up a little
1:00:07bit
1:00:08I'm just wheezing out and holding it in
1:00:10here with this Kuro trying to curl it
1:00:12around but I'm hitting it on the ins the
1:00:14outside of the thumb here there's many
1:00:18nuances of course to all these holes
1:00:20like they explore some of the some of
1:00:23the major ones that that that happen in
1:00:26in in my plane now when anybody as ice'
1:00:31mentioned here do what anybody tells you
1:00:32there's only one way to hold a stick I
1:00:34would question that very severely
1:00:37because even in inside the Moller thing
1:00:40look how many different ways I'm I'm
1:00:44holding just my thumb position and my
1:00:47finger position in the right hand I'm
1:00:50doing it white I'm down in here but if I
1:00:53do it faster I'm in I'm in the middle of
1:00:55my thumb now right in the middle of my
1:00:56thumb but if I do it faster I come over
1:01:00towards you in the outside of my thumb
1:01:02what see I'm on the outside of my thumb
1:01:09now when I get here and I'm doing you
1:01:14this this hole in the middle of my hand
1:01:18these middle two fingers where I'm
1:01:19pressing down here I'm right in at the
1:01:23base of my thumb not way out here not at
1:01:25this part but in this part of my thumb
1:01:31now watch what happens to my thumb when
1:01:35I'm playing in this in this little
1:01:38finger hole I thought it's hardly on at
1:01:43all just as a sideboard kind of kind of
1:01:45holding it from going up into there so
1:01:48it's kind of extreme inside of my thumb
1:01:51and way back down here so my thumb worn
1:01:53is all over the stick as does my
1:01:56forefinger
1:01:57now some people I don't do it very much
1:02:00myself some people curl their forefinger
1:02:03quite a bit I do it at certain times I
1:02:06do it quite a bit when I'm playing
1:02:08really fast tempo but sometimes I'm
1:02:14sometimes I play with a short thumb this
1:02:18way with the thumb the tip of the thumb
1:02:21dug in sometimes I play with a long
1:02:22thumb
1:02:24sometimes if I'm playing really fast
1:02:28temple as I'm doing you're fake I'm
1:02:30playing on that same that same kind of
1:02:33outside of the thought of the thumb when
1:02:35I'm when I'm what I'm doing the thing
1:02:45see now way on the outside of the top
1:02:47now now watch watch my forming when I'm
1:02:50playing fast tempos with might with with
1:02:52the SH with the short thumb or the long
1:02:55thumb curl for fame I can play it here
1:02:59with the grow forefinger so there's a
1:03:01lot of variation sometimes my I slide
1:03:04along my forefinger sometimes I'm
1:03:06pinching up in here sometimes the
1:03:08forefinger is being hit this way it up
1:03:10by them my thumb isn't am I my thumb
1:03:13isn't holding it up in there there's a
1:03:16lot of variation in the hood and the
1:03:17hand holds now look at the left hand
1:03:19fringe and not that many variations in
1:03:21the left hand traditionally there's all
1:03:23these same things hold hold
1:03:24for the left hand if you plant
1:03:32see I'm kind of insight inside that
1:03:35thumb there now I got nothing I'm doing
1:03:39I'm doing that that the the kind of
1:03:43pinch there and this is now and I'm
1:03:44doing the long thumb and then the roller
1:03:46over forefinger but here there's about
1:03:50the only changes that I that take place
1:03:52my hand is not like this I'm not doing
1:03:55this I'm doing this now where is this
1:03:58just shot come the shot comes not across
1:04:01these bones here that are badly covered
1:04:03but down in this in this fleshy part I
1:04:09already explained the tapping this is
1:04:12far better than this but foot and of
1:04:15course those quick double strokes but
1:04:19not for the buzz the buzz comes out in
1:04:22here that's the only time I change from
1:04:25this cuz this tapping it it's fantastic
1:04:29now everybody said everybody says oh you
1:04:31have to keep a firm fulcrum in your left
1:04:34hand look how on the firm that focused
1:04:47on I'm accenting there's still it
1:04:48there's it I hold it in there so this
1:04:50this finger never goes out there except
1:04:53a little bit when I'm doing the open
1:04:57buzz murillo thing or when I'm doing the
1:05:03crusher roll but here I never get like
1:05:06I've never played like this always over
1:05:09there now I know some guys play very
1:05:11well with the finger off like that but I
1:05:13don't like to get calluses in here and
1:05:16this when you plant cross this bone you
1:05:19get a lot of calluses there if you're
1:05:21playing well how do I can play very loud
1:05:23this way does the shock is coming down
1:05:25in here
1:05:34the shot where the shot comes right down
1:05:36in there in that fleshy part all right
1:05:41now there's so many different parts to
1:05:46this to drumming that you can spend your
1:05:48whole life just working on technique but
1:05:52that's not the way to really do it some
1:05:54of the some of the greatest drummers in
1:05:56the world can never do this type of
1:05:59thing but they they can play music
1:06:01they're there their concentration has
1:06:04been on playing music in their
1:06:07themselves in relation to two other
1:06:09musicians and some of them their
1:06:13technique is geared to sounding good B
1:06:17to B so there's no no sense in in
1:06:20becoming a technical giant if you're not
1:06:23also a musical giant if you don't get
1:06:25get some kind of musical thing going
1:06:27also the the best players some of the
1:06:30best players that I know really can't
1:06:33play the drums well but they play music
1:06:35so relatively well so thinking those
1:06:38think in those terms besides beating on
1:06:41the pad and saying boy how fast can I do
1:06:44singles and huh and how's my
1:06:45independence and all I clean in terms of
1:06:47of how do you relate to other musicians
1:06:51how does it feel to them when you play
1:06:53do you make them happy do they make you
1:06:55happy Z is a happy relationship its
1:06:58interrelationship
1:07:01I want to thank you very much for having
1:07:03me
1:07:24[Music]
1:07:52[Music]
1:08:04[Music]
1:08:39[Music]
1:08:48[Music]
1:09:00[Music]
1:09:07[Music]

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