Love it TJ. Especially the combination. Question...I am used to 1-3 on my split hand rather than 3-1.especially at speed. Do you recommend I try to develop the 3 -1
Jamie, I do both fingerings often enough that I have a strategy to practice both. That said, I use the 3-1 fingering more often, only because that’s the one that comes off my hand the smoothest. If the 1-3 fingering flows smoother for you, then use it...you can take the combination I showed here and retool the fingerings to the one that works best for you.
How does the split hand technique work on a cajon without a snare--a snare being quite responsive to subtle touch? It seems like on cajon without a snare, one may want to use the thumb and middle/ring fingers (as demonstrated by Paul Jennings on UA-cam) instead of the index and middle/ring/pinkie as you demonstrated to get the same loudness.
The key to producing the tone is always going to be weight...the heavier you can make your hand/finger, the fuller (and louder) the tone will be. Staying relaxed is the key, and then learning the optimal velocity to throw the hand/finger. In terms of which combination of fingers to use for rolls or fill-ins, that's entirely up to you and your instrument. Personally, I switch between a bunch of different hand and finger combinations depending on the drum I'm on, the tune I'm playing, the volume...all these technique, including the one you're describing, are great and you should know them enough to be able to move in and out of them as the music demands. Great question, Sam, thanks so much for subscribing and for a great comment! I'll definitely discuss this more in a future video...
Also, great question, but I'm going to need to do a video on this to explain it properly. Traditional grip is not going to injure you if you're doing it properly; however, a lot of players (younger players, especially), are taught incorrectly and it does end up causing injury further down the line. Also, if you watch my hands, you'll see I don't lift them too terribly high off the instrument, and any rotation/pronation/supination is so small, it's well within the flexible range of the forearm...that's not going to cause any issue. But, it's something I always mention when players ask whether I'm rotating the forearm to create the stroke: the answer is no, I lift from the wrist same as any other, but there is a residual (or, secondary) rotating motion as a result of isolating the fingers in a split-hand technique. I'll do a video in the future to explain this a bit more. Let me know if this helps, and thanks again...great comment!
@@tjtroymusic I've seen cajon players on youtube rotating their hands/forearms quite alot when playing double stroke rolls. It was helpful to see you do a double stroke without so much pronation--something for me to be aware of.
I think, often times when we demonstrate things at a slower tempo, we tend to exaggerate movements, make them a little larger, to illustrate the full scope of the mechanism. But when you get closer to a performance tempo, the hands will always condense their movement and become more economical. That’s what I hope to illustrate in my videos…easy and relaxed movements are always best for the body, and drumming is a natural, healthy activity that is best when the movement is in line with how the body naturally moves. The great part, is that these “mysteries” tend to reveal themselves to you the more you practice and play with other musicians. Do what feels good for your hands and the technique will continue to develop. Stay in touch, Sam, I love your comments and hope I can help you in your musical pursuits.
Welcome to the channel, thanks so much for being here…thanks for playing along to the video! Let me know if you have any questions, I’m always interested in hearing where you’re at with this or any other material.
Thanks for sharing the knowledge
Everything Perfect🙌
You humble me, thank you for watching.
video is awesome👏👏👏
Glad you think so!
Thank you for handrumming gym workout really helps
Absolutely, my friend, I’m glad it helps and thanks for playing along!
Superb tutorial, many thanks!
Absolutely, thanks for checking it out...stay tuned as more videos are coming very soon.
Awesome as always.....😃👌
Many thanks, and thanks for being a regular viewer!
The way you explain and demo makes it seem so simple!! 🤔 I’d love to see this split hand technique on some other drums.
Thanks so much for the comment, I will add that to the list of topics for the In the Studio series.
Darbuka or dholak
Very Interesting video.....🤲🤲🤲
Thanks for visiting, glad you liked the material
Something different good job bro....😃
Thanks ✌️
I like this version,👐
This is the first of (hopefully) many new videos in this series, stay tuned for more.
You are best🤝🤝
Right on, I appreciate that!
nice Dear very good....🤝🤝🤝🤝
Thank you, Alexander, many thanks.
Keep it up🤲🤲🤲
Will do, thanks!
ur the best....👌👌
Thank you, my friend, I'm glad you enjoy the material.
Supreb.....!!!!!!! nice🤲🤲🤲
Thanks, Chloe, I appreciate it.
Love it TJ. Especially the combination. Question...I am used to 1-3 on my split hand rather than 3-1.especially at speed. Do you recommend I try to develop the 3 -1
Jamie, I do both fingerings often enough that I have a strategy to practice both. That said, I use the 3-1 fingering more often, only because that’s the one that comes off my hand the smoothest. If the 1-3 fingering flows smoother for you, then use it...you can take the combination I showed here and retool the fingerings to the one that works best for you.
Perfect!!! TNX
Glad you liked it, stay tuned for more split hand stuff, I’ve got more upcoming
@@tjtroymusic Thanks So Much
How does the split hand technique work on a cajon without a snare--a snare being quite responsive to subtle touch? It seems like on cajon without a snare, one may want to use the thumb and middle/ring fingers (as demonstrated by Paul Jennings on UA-cam) instead of the index and middle/ring/pinkie as you demonstrated to get the same loudness.
The key to producing the tone is always going to be weight...the heavier you can make your hand/finger, the fuller (and louder) the tone will be. Staying relaxed is the key, and then learning the optimal velocity to throw the hand/finger. In terms of which combination of fingers to use for rolls or fill-ins, that's entirely up to you and your instrument. Personally, I switch between a bunch of different hand and finger combinations depending on the drum I'm on, the tune I'm playing, the volume...all these technique, including the one you're describing, are great and you should know them enough to be able to move in and out of them as the music demands. Great question, Sam, thanks so much for subscribing and for a great comment! I'll definitely discuss this more in a future video...
You say to generally avoid pronating the forearm to avoid injury, but about traditional grip?
Also, great question, but I'm going to need to do a video on this to explain it properly. Traditional grip is not going to injure you if you're doing it properly; however, a lot of players (younger players, especially), are taught incorrectly and it does end up causing injury further down the line. Also, if you watch my hands, you'll see I don't lift them too terribly high off the instrument, and any rotation/pronation/supination is so small, it's well within the flexible range of the forearm...that's not going to cause any issue. But, it's something I always mention when players ask whether I'm rotating the forearm to create the stroke: the answer is no, I lift from the wrist same as any other, but there is a residual (or, secondary) rotating motion as a result of isolating the fingers in a split-hand technique. I'll do a video in the future to explain this a bit more. Let me know if this helps, and thanks again...great comment!
@@tjtroymusic I've seen cajon players on youtube rotating their hands/forearms quite alot when playing double stroke rolls. It was helpful to see you do a double stroke without so much pronation--something for me to be aware of.
I think, often times when we demonstrate things at a slower tempo, we tend to exaggerate movements, make them a little larger, to illustrate the full scope of the mechanism. But when you get closer to a performance tempo, the hands will always condense their movement and become more economical. That’s what I hope to illustrate in my videos…easy and relaxed movements are always best for the body, and drumming is a natural, healthy activity that is best when the movement is in line with how the body naturally moves. The great part, is that these “mysteries” tend to reveal themselves to you the more you practice and play with other musicians. Do what feels good for your hands and the technique will continue to develop. Stay in touch, Sam, I love your comments and hope I can help you in your musical pursuits.
@@tjtroymusic I appreciate your replies. I look forward to learning more from you.
I'm pretty much just playing along as you go, just trying to keep a rhythm...sorry to be late to your party on this vid!
Welcome to the channel, thanks so much for being here…thanks for playing along to the video! Let me know if you have any questions, I’m always interested in hearing where you’re at with this or any other material.
love u all....🤝🤝🤝🤝
Awesome, thanks for watching.
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Glad you liked it, thanks
😊😊😊😊😊😊😊😊
Thanks for watching!
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Thanks!