Inside Drum Technique

Discover a new method on how to develop your hand technique. Learn how to play drums step by step and from scratch!
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  • Lectures 25
  • Length 2 hours
  • Skill Level All Levels
  • Languages English
  • Includes Lifetime access
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About This Course

Published 12/2013 English

Course Description

Description of the course

The main aim of IDT is to show and to explain the processes necessary to go through in order to develop a technique that allows us to play in a relaxed, controlled and musical way.

Along these videos I will do my best to show in detail the physical sensations that can be experienced when starting to study the technique. To achieve this, I will do a careful analysis of every movement made.

I will place particular emphasis on the importance of passing through some stages which, in my opinion, are vital to acquire an effective hand drumming technique. I will show that by working in a constant and progressive way, with clear goals, it is possible to achieve tangible results and to avoid frustrations.

I want to share with you my belief that a constant thirst for knowledge and the feeling of satisfaction when developing news skills can lead to a creative way of studying our instruments.

The satisfaction of learning how to make a stroke comfortably will surely encourage us to keep on practicing to strive for perfection. This way we will reach more complex stages each time. As we become more confident and more curious we will feel more motivated to improve our technique and to practice regularly. Such practice should not be experienced as a dull and monotonous routine but as an opportunity to learn new things and to become better drummers, better musicians and better artists.

Mi chief aim is to encourage you to discover and experience this. If this happens, then this work has achieved its purpose.


Our conception about technique

To acquire a good technique does not mean becoming extremely virtuous only. It means having the ability to produce the right sound effect in a certain musical moment, as well. The more tools we have to create these effects, the better our technique and the richer our music.

To sum up, I believe studying in detail the technique allows us to express better when playing our instruments. Hence, we play in a more colorful and versatile way.

Although this guide is focused on studying and analyzing the technique, I firmly believe a good musician should develop its creativity and musical sense as well.

I think this work I am sharing with you would be worthless if its aim was not a musical one.

I insist on the fact that the technique should always serve music, for this is the only way it gains real value.

- The 25 videos/chapters are in high definition [HD] mp4 format. -

What are the requirements?

  • 1- A pair of drum sticks. 2- A practice pad. 3- Any software to play the videos (.mp4).

What am I going to get from this course?

  • Our goal is to accompany you on the progress of the development of your hand technique, so in these 25 videos (2 hs.) we will show and explain you step by step and from scratch...
  • - Working your posture and relaxation.
  • - The different ways of holding the sticks (grips) and how they work (examples with everyday movements).
  • - Advantages and comparisons between the different grips.
  • - Which elements to consider when choosing a pair of drumsticks.
  • - The concept of stick bounce, approached from the importance in sound and physical development.
  • - Starting to feel comfortable and in control with our movements with drumsticks.
  • - Different ways to stretch and warm up before practicing or playing.
  • - Hand routines with indications of possible physical sensations that you can experience.
  • All explained from HD multiple takes.
  • One of the focus points of this method is to face difficulties as something natural in the process of developing your hand technique, with this we want you to avoid premature frustrations that can take you to stop playing this amazing instrument. It is impossible not to make mistakes when you learn something new, but it is possible to be aware of them in order to know how to face them . IN ORDER TO HELP YOU EVALUATE AND SEE YOUR PROGRESS EVERY WEEK, WE SHOW YOU THESE POSSIBLE MISTAKES AND WE EXPLAIN THE WAY TO OVERCOME THEM.

What is the target audience?

  • Beginners who want to learn drum technique. Professionals who want to improve and learn in depth different aspects of their technique.

What you get with this course?

Not for you? No problem.
30 day money back guarantee.

Forever yours.
Lifetime access.

Learn on the go.
Desktop, iOS and Android.

Get rewarded.
Certificate of completion.

Curriculum

Section 1: INTRODUCTION
02:40

To acquire a good technique does not mean becoming extremely virtuous only. It means having the ability to produce the right sound effect in a certain musical moment, as well. The more tools we have to create these effects, the better our technique and the richer our music.

02:33

The main aim of this work is to show and to explain the processes it is necessary to go through in order to develop a technique that allows us to play in a relaxed, controlled and musical way.

I will place particular emphasis on the importance of passing through some stages which, in my opinion, are vital to acquire an effective hand drumming technique. I will show that by working in a constant and progressive way, with clear goals, it is possible to achieve tangible results and to avoid frustrations.

02:51

Firstly, some ideas about the importance of the position and relaxation when facing a drum or drum set should be taken into consideration.

Position, comfort and relaxation are an important part of the technique and a way to adjust it to our own body. This way, the technique is learnt, acquired and adopted differently by every people.

Section 2: HOLDING THE STICKS (GRIPS)
01:33

There are two main ways of holding the drum sticks. On the one hand we have the matched grip, with its two variations: the German grip and the French grip, and on the other we have the traditional grip.

03:06

The German grip is probably the most natural one, given that the first time we hold the drum sticks we tend to use this grip instinctively. A child who is just starting to play, will probably hold the sticks this way.

01:50

This technique, commonly used by timpanists due to its versatility, allows us to play in a subtle and controlled way while expressing comfortably in very high volumes. In addition to these advantages, it is the most natural technique for our fingers.

04:00

Although this grip might appear strange at first sight since it is a less natural way of holding the sticks, it offers significant advantages and its main features make it unique, not only because of its history but also because it offers us a number of possibilities for expressing ourselves.

03:19

Feel free to choose the technique that suits you best, since none is better than the other. In fact, the choice is generally related to the genre, the sound or the ideas we wish to express when we play.

These are the main features of each grip that should be taken into consideration when choosing a technique according to the musical situation.

Section 3: FEELING AND CONTROLLING THE STICK BOUNCE
04:04

Until now we have dealt with movements that allow us to express physically through our instruments what comes to our minds as a phrase or musical idea. Now we will develop an essential tool that will help us to take full advantage of such movements: the stick bounce.

I wish to make special emphasis on the idea that we should acquire this tool and take advantage of it, but we cannot depend on it. Otherwise, we would be completely conditioned by the surface we are playing on.

02:42

We show a number of elements to take into consideration when choosing a pair of sticks. We explain the different parts of the sticks and some materials with wich they can be built.

02:09

We will start by feeling the sensation of the bounce as we play with an alternative grip. This grip has not been mentioned before because it is not really used when playing. Nevertheless, it is very effective to practice and specially to become familiar with the bounce.

03:53

Given that the main aim of this work is to show and explain how some processes develop, I believe it is important to mention that when trying to control the bounce it is possible to feel that we cannot control the drum sticks completely and that we are not comfortable doing this. Many drummers have gone through this. This is normal and it is part of the learning process, since we are studying a completely new technique. Do not become alarmed or frustrated and be patient. Rest assured you will achieve your aims with constant work.

I have noticed 4 inconveniences or physical difficulties students who start learning hand drumming technique usually have to cope with. In fact, there must be a wide range of difficulties, but these are the ones I have identified and standardized as the most common ones. I will exaggerate the movements in order to illustrate better the sensations I am making reference to.

05:03

To continue with the work done so far with the alternative grip, now it is time to try this technique using the German grip. Remember to practice with both hands. Now we will explain the mechanics of the movements made in some classic strokes.

It is my belief that studying in detail the work of musicians and teachers that came before us is of the utmost importance in order to fully understand the technique, our instrument and music in general.

03:17

Despite physical difficulties might become more visible when paying with the German grip, they are basically the same.

01:23

As it has already been mentioned, a significant difference between the French grip and the German grip lies in the limited movement made by the wrist in the first one. This poses a greater challenge to feel the bounce so it might take up more time to acquire the technique. I recommend working very slowly with this grip in order to found the bounce.

01:49

We will show the same 4 difficulties that might be encountered. Some additional notes regarding the French grip are included.

01:55

If you really want to learn this technique, you should know it requires great patience, even more than with the German or French grip. Perhaps you might have to repeat more times the rotational movements of the Traditional grip to feel the bounce.

To begin to feel the bounce with this grip, we will use a couple of mechanics that require less contact between the stick and the hand.

02:14

The difficulties we might have to deal with are almost the same that have already been mentioned for the other techniques.

Section 4: BEFORE STARTING TO PRACTICE
03:01

Not only should we worry about the strength of our muscles when playing, but also about their flexibility. In order to found a balance between these two it is necessary to stretch.

Let us see some reasons for the importance of stretching.

03:02

To warm up consists of keeping a moderated intensity of physical activity or to increase it gradually while we prepare ourselves for the most demanding movements. It is most important to feel comfortable and gradually make our flood flow along our arms and hands. As our blood flow increases, our muscles get more oxygen, our temperature rises and we gain flexibility. Therefore, we improve our way of playing as well as we protect our muscles and tendons and prevent possible injuries.

I recommend 4 warming up exercises.

Section 5: STARTING TO PRACTICE
18:12

Once the bounce sensation has been experienced, we should start our first routines to work on it in order to master this technique. Before starting to practice, I will place some emphasis on previous ideas and I will talk about some new ones.

16:49

As you might have noticed, the first routines consist of systematically repeating the same stroke. This work proves useful for our main purposes: to develop endurance, control, flexibility, and to directly experience the bounce.

16:12

I believe the French grip is very versatile though it requires a great deal of work to develop it correctly. Do not feel discouraged if you are not comfortable with it during the first repetitions. Insist on practicing, and check on any progress achieved regarding your technique. If necessary, you should write down the sensations you experience every time you practice; this will enable you to watch the progress after some weeks.

16:05

Given that only the left hand is used in the traditional grip, we will work with that hand now. You might learn to play in the traditional grip with your right hand provided you are left-handed. Nevertheless, it is my recommendation to develop this technique as if you were right-handed, though this is just a personal opinion.

02:41

On this first stage, I will suggest a 4-week study schedule. I will use the German grip as an example. This does not have to be a strict schedule. Instead, I intend it to be just a guide. In the future, once you have already acquired fluency to play, I recommend you to establish your own routines.

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Instructor Biography

Rodrigo del Castillo, Músico, docente

Nació en Montevideo (Uruguay) el 6 de Junio de 1986. Comenzó a estudiar batería a los 9 años. En su temprana adolescencia decide profundizar más sobre el instrumento con Jorge Rodríguez Stark. Durante el 2008 y 2009 tomó clases con Nicolás Arnicho y más tarde con Osvaldo Fattoruso. Formó parte de varios proyectos como baterista, tocando en distintas bandas y acompañando a músicos solistas. Tuvo la oportunidad de tocar con artistas como Gerardo Alonso y Ricardo Lacuán. Durante el 2010 participa de la grabación del disco "Simplerio" de la flautista y cantautora Valentina Pécora. A principios de 2007 comienza su actividad como docente, labor que continúa desempañando en la actualidad. Durante el 2011 y 2012 crea y desarrolla un nuevo método sobre técnica de manos en batería, IDT :: Inside Drum Technique.

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He was born in Montevideo (Uruguay) on June 6, 1986. He began studying drums at age 9. In his early teens decide to go deeper on the instrument with Jorge Rodríguez Stark. During 2008 and 2009 he took classes with Nicholas Arnicho and later Osvaldo Fattoruso. He was part of several projects as a drummer, playing in different bands and accompanying soloists. He had the opportunity to play with artists like Gerardo Alonso and Ricardo Lacuán. In 2010 participates in the recording of "Simplerio" the flutist and singer Valentina Pecora. In early 2007, began his work as a teacher, demisting work continues today. During 2011 and 2012 creates and develops a new method of hand technique on drums, IDT :: Inside Drum Technique.

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