I'm just a "feel" drummer so I don't need technique, right?

I'm just a drummer.

It's that simple. I need both to be effective.

I don't really agree tbat the fast players only learn enough technique to help them get the job done as that implies if you like listening to say jazz you will automatically learn your instrument properly.
What kind of nonesense is that?

But I can almost see what you were getting at...
 
It's like deja vu all over again.

My "groove" drumming was on a serious plateau for a long time, and what I realized was that I was missing some technique in my playing.

Things are drastically improving now that I woodshed a couple hours a week on my pad doing Stick Control type exercises, which I've never really done much of before. My beat/fill repertoire has expanded a lot. I'm even more motivated to play and even more confident with my drumming now because these extra capabilities are available to me.

So, yeah, learn some technique. No doubt about it. Like Uncle Larry is saying...Balance.
 
Some of Charlie Watts's comments here stayed with me: https://www.youtube.com/watch?v=M1_6z9oqet8
It's one of the faults in my playing ... I never learned to play. I learned by watching. I should have gone to ... lessons but I never did. I learned by watching the great drummers in London. Phil Seaman, people like that.

... When I'm playing I'm hoping it will come out alright ... as Keith would say, we play by feel - which we do, really. But feel is numbers as well ...
 
Everyone's feel is different, put 10 drummers together to play the exact same rhythm and it will sounds different from each drummer.

Technique is a tool, nothing else, you either possess loads or very little, it helps to play what you "feel".
 
Everyone's feel is different, put 10 drummers together to play the exact same rhythm and it will sounds different from each drummer.

Technique is a tool, nothing else, you either possess loads or very little, it helps to play what you "feel".

Yes but without it you can't always play what you feel.

I also disagree with the 10 different drummers statement. Session guys make a living of being able to mimmic certain drummers feel.
It IS possible and complete command of their technique opens up that doorway for them.

Sorry if that sounds snotty, I don't mean it that way. It's just my opinion.
 
Hi guys! First post here so thank you for having me! As in regards to technique vs. feel, they are really not in opposition of each other. In fact, I honestly feel technique is really the only way to unlock feel. If you're learning something technical but it has no feeling, what point does it serve? Nothing in my opinion... It's just a bunch of exercises that really do not apply to making music... And that's what we're all here to do? Thanks Jason Burns
 
It's all very simple. If you don't develop good technique early then you have a hill to climb if you want to rebuild your grip and stroke. If you wait too long to correct inefficient stroke and grip then it can reach a point where it's not worth the bother, in which case you have no choice but to be a "feel drummer".

From there, as a person resigned to being a feel drummer, you can build financial security in a 9-to-5er and play a few gigs on the side playing "cool" music with other sloppy but spirited would-be musicians.

I would agree 100% with this. Did the 'I'm a feel drummer' thing for about 20 years. About 9 months ago, I started getting back into music rather seriously and started attending a regular open stage with some jaw-dropping drummers in attendance.

I was quite humbled and had to be honest with myself. Why were these guys so much better-sounding than I? It was their technique. That's when I decided "OK, you're gonna fix your technique. No more putting it off."

I've been working on this very intensively for about 4 months now and my technique is lightyears better.

As is my groove playing. :)

Results vary, but MY experience tells me you need to work on both.
 

I've always really liked Hal's stuff. However, I wish I could pick his brain and ask him where he thinks one should draw the line between immature and adult musical behaviour. At what point does one stop repetition and work entirely on other forms of practice?

The reason is actually based on the idea of building and maintaining brain-to-hand signal, which he makes a strong case for. A strong brain-to-hand signal is built by repetition. Myelin wrapping is the key and the process can continue through adulthood, though not as efficiently as in childhood.
 
I've always really liked Hal's stuff. However, I wish I could pick his brain and ask him where he thinks one should draw the line between immature and adult musical behaviour. At what point does one stop repetition and work entirely on other forms of practice?

The reason is actually based on the idea of building and maintaining brain-to-hand signal, which he makes a strong case for. A strong brain-to-hand signal is built by repetition. Myelin wrapping is the key and the process can continue through adulthood, though not as efficiently as in childhood.

Honestly, I much prefer pianist Kenny Werner's musical performance psychology/philosophy to Hal Galper's... I think Werner is a better living example...

here's a bit of what he touches on... Thanks!
http://www.youtube.com/watch?v=Un3p614XExc
 
Technique is such an open-ended blanket word.

No it isn't. Put down the bong and learn something. Technique, like all words, has a definition. Words do, you didn't know that? Well now you do!

tech·nique
/tekˈnēk/
Noun
A way of carrying out a particular task, esp. the execution or performance of an artistic work or a scientific procedure.
Skill or ability in a particular field: "he has excellent technique"; "an athlete with a good technique".
 
I've always really liked Hal's stuff. However, I wish I could pick his brain and ask him where he thinks one should draw the line between immature and adult musical behaviour. At what point does one stop repetition and work entirely on other forms of practice?

The reason is actually based on the idea of building and maintaining brain-to-hand signal, which he makes a strong case for. A strong brain-to-hand signal is built by repetition. Myelin wrapping is the key and the process can continue through adulthood, though not as efficiently as in childhood.

I think Hal is referring to someone who started their studies as a child ....did all the ground work .......and built a solid foundation through repetition when he is speaking on that

I think when that is the case one will know when that transition happens ....and everyones point of transition will be different

I agree with his point that at a certain time in ones learning process repetition becomes pointless and you need to just play music .

when one reaches that point will vary but at that point playing and using what you have replaces what once was repetition

like when he says ...you cant learn all the licks so learn the ones that appeal to you the most and use them in as many different ways possible .

also ...he is pretty much strictly speaking in terms of jazz and that if an adult practices with too much repetition it will show up in their playing ....and the last thing a jazz player wants in their playing is too much repetition

so if a jazz player has done his groundwork , built his arsenal techniques, developed certain ways that he/she enjoys playing and they are ready to fly from the nest so to speak ........then just play ...make music ...and start that leg of your journey

that leg of the journey will continue to improve upon your technique, and that ground work....just minus repetition and repetitive phrases and exercises .....and instead ideas , melody , and musical conversation

if someone is learning to play as an adult, or learning a certain style as an adult ....then they will need that repetition for many many years
 
I would like somebody to show me the absolute correct "technique" for any given drum phrase. Because I dont think there is any one correct way to play the drums.

I will use a sports analogy here, sorry for those of you who dont get the reference:

In Baseball, the goal of the pitcher is to throw the ball in such a way as to get the hitter out. There are as many different ways to do this as there are pitchers. Sure, some coach will preach mechanics (technique) and tell you that you have to do it a certain way. But for every person doing it that way there are hundreds of other successful guys doing it completely different with better results. The bottom line is, there is no one right way to throw a baseball, and there is no one right way to play the drums.

Also find it interesting that a school is preaching the need for a correct drumming technique. Sound like they are "selling" the need for a proper technique to me.
 
Because I dont think there is any one correct way to play the drums.

True.

But some ways are certainly more effective than others. Individual physiology and biomechanics mean that what's most effective for one, won't necessarily be the best way forward for another. But you can bet your bottom dollar it's worth investigating the many options available to you rather than just dismissing them out of hand and thinking that there is no such thing as "correct" so why bother? That line of thinking leads to things like stagnated development and inability to progress past a certain point....or in worst case scenarios, injuries.

There's many roads that will get you to Rome.......but that doesn't mean you stay at home and not travel any of them. You explore your options and find out the best way forward for you.
 
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In Baseball, the goal of the pitcher is to throw the ball in such a way as to get the hitter out. There are as many different ways to do this as there are pitchers.

All involving technique. Great to excellent technique if we're talking about the majors. Mediocre technique won't even get you into the low-A teams.
 
In Baseball, the goal of the pitcher is to throw the ball in such a way as to get the hitter out. There are as many different ways to do this as there are pitchers.

and some guys build illustrious careers on one pitch
 
I suppose it depends on how happy you are with your own playing.

I'll never be happy so, I'll always be practisong my technique and searching for new ones.

I think the aim is to achieve the feel and sound you want with the least possible effort and that's what technique is about, finding harmony between body/ mechanics and sticks/feet.
 
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