Insane Speed Demonstration & Lesson

Sounded more like my Husquavarna chainsaw... great exercise, those doubles diddles and singles... thanks
 
Unbelievable control, precision, speed, power and innovation on the kit
as usual Seth. Can't wait for the dvd!
 
I love the fact that Seth refuses to go along with the crowd and get on the Moeller bandwagon. Truth is, he is not alone om that opinion.

Joe Morello and Mike Mangini have each told me in person that Moeller technique is overrated. Tommy Igoe won't even use the term. He calls it "circular motion"

Moeller's cool but it's NOT the end all of technique by any stretch of the term. It doesn't apply to unaccented passages ("single-height" in corps lingo) and it doesn't apply to double strokes. It also only works for single accents. Joe used to say that if you tried consecutive accents using Moeller you would flap your wings and fly away.

JoJo has brought Moeller to our attention once again simply because JoJo is one of the best drummers on the planet today. But JoJo is a virtuoso who has mastered many techniques, He can play with wrists, fingers whatever.

It's not ALL Moeller as Seth shows in this devastating demonstration.
 
I love the fact that Seth refuses to go along with the crowd and get on the Moeller bandwagon. Truth is, he is not alone om that opinion.

Joe Morello and Mike Mangini have each told me in person that Moeller technique is overrated. Tommy Igoe won't even use the term. He calls it "circular motion"

Moeller's cool but it's NOT the end all of technique by any stretch of the term. It doesn't apply to unaccented passages ("single-height" in corps lingo) and it doesn't apply to double strokes. It also only works for single accents. Joe used to say that if you tried consecutive accents using Moeller you would flap your wings and fly away.

JoJo has brought Moeller to our attention once again simply because JoJo is one of the best drummers on the planet today. But JoJo is a virtuoso who has mastered many techniques, He can play with wrists, fingers whatever.

It's not ALL Moeller as Seth shows in this devastating demonstration.


Jeff....

I honestly could not have explained it any better than you did here.
The greats you mentioned, the concepts and opinions (backed with serious playing) are all dead on.

It is as simple as this... If the Moeller Technique provided me the ability I have then I would be the first to promote it. However, it does not. I unlike marketing gurus on the net refuse to mislead impressionable young drummers to make a buck, because at the end of the day success in that students life will come back ten fold to me. Those guys are a one time teacher because after the students waste their money and do not get anywhere they will not be back and that supposed Drum Guru's rep will be soured, one sale at a time.

I wish it was as easy as learning the moeller technique, I really do because I would not have had to study and practice so hard for so many years. Example: The fact that many believe that the only way to accent a double stroke roll on the second note is to use the Moeller Technique is senseless. There is one Rudiment that will fix that for every drummer.


Thank you for the very insightful comment Jeff,
one of the very best I have seen yet on this subject.

S
 
Seth, what's the technique you use?

Isn't it basically the Gladstone Technique™ with the wrists?

Also, are you against using finger technique when playing at high tempo's and, if so, why?
 
Seth, what's the technique you use?

Isn't it basically the Gladstone Technique™ with the wrists?

Also, are you against using finger technique when playing at high tempo's and, if so, why?

Hi T-1000,

No I do not use the Gladstone Technique.
My hand technique was developed from
my approach to the way I performed on the Drumset.



One of the reasons I tried to come up with my own technique (or what I feel is my own) is because I never found "one" technique for "both" hands (getting them to be completely equal.) Once the technique I was working on was developed (which of course took time) I never looked back because I was able to successfully achieve Equal Ability in both hands with one technique.

I rely on the bicep as much as I do the forearm, the wrist and of course the fingers.
So to answer your question about fingers.... I am absolutely 100% in favor of finger control as it plays 1 of the 4 key parts of my technique of course and is what gives us main control of the drumstick.

It will also do what those lame ads claim to do but fail at and that is double or triple your speed. You can seriously increase your speed and of course control by working on your finger technique and you do not have to spend a dime. Get a snare in front of you and get to work because... It works. We have wrist, we have fingers. All one must do is train them properly to get results and not look for an easy way out. If it was easy everyone would have great hand technique, the sad reality is it is not easy and takes hard work and lots of discipline. THE SECRET: Combine great technique with a very disciplined routine and you will reach your goals. What you choose to be very disciplined about is all up to you and is what makes this an art. Thank you for the question, feel free anytime.

S
 
Hi T-1000,

No I do not use the Gladstone Technique.
My hand technique was developed from
my approach to the way I performed on the Drumset.



One of the reasons I tried to come up with my own technique (or what I feel is my own) is because I never found "one" technique for "both" hands (getting them to be completely equal.) Once the technique I was working on was developed (which of course took time) I never looked back because I was able to successfully achieve Equal Ability in both hands with one technique.

I rely on the bicep as much as I do the forearm, the wrist and of course the fingers.
So to answer your question about fingers.... I am absolutely 100% in favor of finger control as it plays 1 of the 4 key parts of my technique of course and is what gives us main control of the drumstick.

It will also do what those lame ads claim to do but fail at and that is double or triple your speed. You can seriously increase your speed and of course control by working on your finger technique and you do not have to spend a dime. Get a snare in front of you and get to work because... It works. We have wrist, we have fingers. All one must do is train them properly to get results and not look for an easy way out. If it was easy everyone would have great hand technique, the sad reality is it is not easy and takes hard work and lots of discipline. THE SECRET: Combine great technique with a very disciplined routine and you will reach your goals. What you choose to be very disciplined about is all up to you and is what makes this an art. Thank you for the question, feel free anytime.

S

Yeah, interestingly enough I noticed couple of days ago how my shoulder and bicep (at least on the right arm) is already capable of doing 300bpm 8ths, it's the wrist that is holding me back the most. So yeah it's important to divide the work with all the different muscle goups in you body, but without getting overly tense of course.
 
Yeah, interestingly enough I noticed couple of days ago how my shoulder and bicep (at least on the right arm) is already capable of doing 300bpm 8ths, it's the wrist that is holding me back the most. So yeah it's important to divide the work with all the different muscle goups in you body, but without getting overly tense of course.



I have used the analogy of a car before at clinics when asked about this.
A high performance automobile cannot have any weak links. To get the power from a motor to the rear wheels you must have everything working in unison and at a high working level to see the end result.

The Motor transfers power to the Transmission then through
the driveshaft and finally through the rear end. If one of those vital
parts has a flaw, the whole performance will be altered.

So the same with me, my upper body and mid section, arms, wrist and fingers
must all be trained to the same level otherwise my technique will be broke
down at the starting line just like that performance car that suffered from a weak
link and I will never see my true potential.
 
Thanks Seth, that was pretty cool. Best wishes and keep on pushing the limits!

GJS

p.s. I really liked your 7/4 demo!
 
Thanks Seth, that was pretty cool. Best wishes and keep on pushing the limits!

GJS

p.s. I really liked your 7/4 demo!

Thanks brother,

7/4 demo... 7/4 demo... Hmmm... Early morning..
The double bass example in 7?
 
do you have something similar to this, but not in 5. i need something in 7;)

There are actually parts in 7 during this
speed demonstration that I did not break down
that are shorter variations of the pattern in 5 so it is
ironic you asked about that. Easy as this...

Take out the 6 single strokes at the end where the pattern
is as follows: RRLL RRLL RLRRLL

Now it is even more simplistic, two sets of doubles and a paradiddle-diddle.
You now have a rudiment you can burn in 7. Make sure to lead with the left as well.

youtube.com/themoellerkiller

www,myspace.com/insaneindependenceinc
 
I run into alot of what I think are mental issues with speed like this. I can rip off a five stroke roll or a 7 stroke roll very fast. I can play a paradiddle very fast, I can do my para diddle diddles fast, but somehow when putting them together my mind can't keep up and my hands can't follow. I know the physical ability is in my hands, but I can't put it together. do you have any tips for getting past this mental block?
 
I run into alot of what I think are mental issues with speed like this. I can rip off a five stroke roll or a 7 stroke roll very fast. I can play a paradiddle very fast, I can do my para diddle diddles fast, but somehow when putting them together my mind can't keep up and my hands can't follow. I know the physical ability is in my hands, but I can't put it together. do you have any tips for getting past this mental block?

Absolutely.

In your case as in many it is not physical.
It is the muscle memory. It is not possible to
create flawlessy smooth segways from one rudiment to
another unless you work on doing just that.

You being able to burn the rudiments you mentioned is the first step,
now that you accomplished that you must move to the next step. Combining or
compunding them. Here is how to fix your delima very easily.

Step 1: I want you to take 3 rudiments that you feel you play all equal. Remember,
you must be able to play these three all at the same level because if not you will have a weak link in there and you don't want that. If you see a weakness in one of them, go back to step 1 until they are all equal. So...

Step 2: Start creating combinations with these
3 rudiments where they will flow in and out of each other. My advice would be to utilize
the double stroke roll, the paradiddle and the paradiddle diddle as they are easy to work
with for this. If you prefer not to go back to mastering the weaker one than just play them all at a comfortable speed and you can train them that way as well, takes a bit longer but still works just fine.

You will see great results by spending some time on this. This is why I stress so much to
those studying my program with me here personally to not get side tracked when performing each day's exercise as it is vital for future studies such as the one we are discussing right now. Do it right the first time, get the muscle memory for each mastered and you will be on your way when it comes to advanced studies like this.

Free your mind, meditate and concentrate and you will see great results. Give it about 3-4 weeks with daily practice and you will see what I mean. Please let me know how this is working for you. I am very interested. P.S. Go read up on this at my myspace as well for some more detailed tips. There is no way possible for your mind to follow when playing at those kinds of speeds, it is already there you just have to access it.

S
 
Jeff....

I honestly could not have explained it any better than you did here.
The greats you mentioned, the concepts and opinions (backed with serious playing) are all dead on.

It is as simple as this... If the Moeller Technique provided me the ability I have then I would be the first to promote it. However, it does not. I unlike marketing gurus on the net refuse to mislead impressionable young drummers to make a buck, because at the end of the day success in that students life will come back ten fold to me. Those guys are a one time teacher because after the students waste their money and do not get anywhere they will not be back and that supposed Drum Guru's rep will be soured, one sale at a time.

I wish it was as easy as learning the moeller technique, I really do because I would not have had to study and practice so hard for so many years. Example: The fact that many believe that the only way to accent a double stroke roll on the second note is to use the Moeller Technique is senseless. There is one Rudiment that will fix that for every drummer.


Thank you for the very insightful comment Jeff,
one of the very best I have seen yet on this subject.

S


I repect what you've done and your bold stance so you are very welcome.
 
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