the principle of superposition
For many beginning to intermediate drummers, executing fast two-height patterns while remaining relaxed is a difficult challenge. The main cause of this difficulty is the use of the "squeeze & release" approach to controlling stick heights. In this approach, the fingers are used to freeze the stick at a low height to transition from accented notes to unaccented notes. The squeeze & release technique is flawed because it creates an inconsistent quality of sound and quickly causes fatigue in fast two-height patterns. In this article, a relaxed mental and physical approach to executing two-height patterns is presented.
The principle of superposition states that in a "linear" system, the system as a whole can be expressed as a sum of its individual components. Don't worry about the strict definition of a "linear" system - you will soon see how we apply the idea to the system of levers used while drumming, namely, the wrist and finger levers. [1]
- The finger levers are used primarily during the execution of fast non-accented notes, or taps. Let us assume a standard stroke height of three inches for tap strokes.
- While executing an accented stroke, a combination of the fingers and the wrist are used. For accented strokes, let us assume a stick height of nine to fifteen inches.
By applying the principle of superposition, you can separate the finger and wrist levers into their individual components. This will greatly simplify the series of signals you are sending to your muscles to execute these patterns. In no time you will be achieving a relaxed state of two-height nirvana. The process works as follows:
- Begin by playing sixteenth-note taps on one hand at 80 - 120 beats per minute. Choose a tempo where you can sustain the sixteenth notes while remaining completely relaxed.
- While playing these sixteenth notes, really concentrate on the work being done by your fingers. You need to know and memorize exactly what the fingers are doing, how far they are moving for each stroke, and how much force they are applying to the stick.
- Here is the key for applying the principle of superposition to two-height patterns: The work being done by the fingers is constant, i.e. the finger motion you are creating does not change when switching from accents to taps or vice-versa. In order to play an accent, you simply add the wrist rotation on top of what the fingers are already doing.
- By taking this approach, you can put the fingers into a state of auto-drive that is completely relaxed. If you need to play an accent, simply turn the wrist to achieve a greater stick height. When going back to tap height, the fingers will naturally control the stick height without any need to squeeze the stick.
The following is an exercise designed to practice this approach. Play the exercise all the way through, one hand at a time.
In summary, using the superposition approach is useful both mentally and physically. By separating the finger and wrist components we can remain in a very relaxed mental and physical state. Also, by maintaining a consistent finger motion, the quality of sound and rhythmic accuracy of the taps should be much improved over the "squeeze & release" approach.