PERCUSSION
GOOD HANDS | Mark Shelton
Who wants good hands ? Yeah , percussionists like having chops-a-plenty . Developing good hands allows you to efficiently perform functions such as deftly dropping a double stroke into a passage or skillfully placing an accent in the right place . Without sufficient technique , your great musical ideas cannot move from your head to your limbs and onto your instrument . The following exercises will assist you in gaining control of permutations , accents , and double strokes . These short drills can be played with sticks or bare hands .
PERMUTATION PROWESS ( EXERCISE # 1 ) A percussionist doesn ’ t get very far into drumming before realizing the need for more than alternating strokes . To play passages efficiently , drummers rely on various hand permutations . ( By definition , items in a permutation are required to be in a specific order ; e . g ., Right Left Left Right , or Left Left Right Left ) Fluency in various hand permutations ( also known as stickings ) is essential to basic drumming technique . Exercise # 1 includes some permutation challenges . Each grouping of three should be played as triplets in 4 / 4 time .
Dive deeper into permutation proficiency with Stick Control by George L . Stone . The pages of the classic method book include exercises to develop the percussionist ’ s ability to play dozens of right / left permutations .
ACCENT CONTROL ( EXERCISE # 2 ) The ability to perform accents is among the chief means of expression on percussion instruments . Since an accent is typically produced by playing a note at a higher volume than an unaccented note , it is important to develop a broad range of dynamics coupled with the skill to shift rapidly between different volumes .
PARADIDDLE ACCENTS ( EXERCISE # 3 ) One of the first rudiments percussionists encounter is the paradiddle . It ’ s also a permutation . Although a paradiddle is often notated with an accent on the first stroke , the sticking remains a paradiddle no matter the placement or the absence of accent ( s ). Exercise # 3 shifts accent ( s ) to various locations within the paradiddle sticking . It ’ s a bit tricky but worth the effort . insert a solitary diddle into a musical passage . Exercise # 4 should be practiced with both controlled rebounds and using the fingers to produce the double strokes . Playing the exercise on a surface that does not provide rebound ( e . g ., a feather pillow ) will force you to use finger control to produce the diddles .
DIDDLE BREAKDOWN ( EXERCISE # 5 ) Exercise # 5 contains all diddle possibilities within a set of four sixteenth notes . ( Notes with a slash through the stem are diddles — two double-stroked 32nd notes .)
As you practice this exercise with sticks or hands , listen for even volume and correct rhythmic spacing .
Mastering these exercises produces skills that transfer to a variety of percussion instruments . You will find many resources in both method books and online resources to build your technique further . You want good hands !
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4 / 4 R L R L R R L R L R L L | R L L R R L R L L R R L |
R R L L R R L L R R L L | R R L R R L L R L R x x |
DIDDLE BUILDER ( EXERCISE # 4 ) Playing two notes rapidly with one hand is a fundamental drumming skill . Mastery of double strokes ( also known as diddles ) includes the ability to string together a series double strokes along with the dexterity to
© 2025 Mark Shelton Productions / Percussion For Worship
Mark Shelton Mark Shelton is a freelance musician , educational consultant , and content creator based in Dallas / Fort Worth . Mark ’ s playing has been heard with The North Carolina Symphony , Tin Roof Tango , Daystar Television , Gateway Worship , Stonebriar Church , Wichita Falls Orchestra , Victory Channel , Strata Big Band , TALEA , and Dallas Wind Symphony . www . marksheltonmusic . com www . percussionforworship . blogspot . com
78 February 2025 Subscribe for Free ...