Your videos articulate so many of the things that I find myself naturally thinking about. You give a clear, concise voice to the serious technician. Really love these vids.
I've made nice progress grinding your flawless technique, but I kinda slept on this. Gonna get me some mirrors and try this. Can't thank you enough for what I learned from you, you're an *amazing* teacher!
Gordy, the wrist technique you're teaching is superior. Years of playing left my right hand doing exactly as you teach accidentally... or purposely depending on your view I suppose (like my body just adapted). After having realized some difference I never nailed down exactly what that difference was. After seeing your videos I now know. I have a feeling that I will mention your name multiple times in the future. Much thanks.
Excellent video Gordy. After watching your videos, I've just realised that I've been doing my wrist actions all back to front when it comes to the Open/Close technique. I'm going to have to go back & relearn it again. That will probably explain why the tip of my thumbs were wanting to point into the drumstick instead of the pads of my thumbs for the close stroke, I don't know? Anyway, it's good to see what I've been doing wrong. I'm going to definitely get another 2 mirrors, I already use one in front of me to keep an eye on even drumstick heights. Thanks again Gordy.
Could you comment on grip, Gordy? When using the finger strokes my whole grip seems to move to a sort of off-set French grip, wher the stick is parallel to the fore arm though not in line. You seem to be able to maintain a American/German stance through out.
There's nothing wrong about what you are describing. It's a natural position. FYI you can also do open/close from that same position. In fact, as I get older I seem to be moving more to a French position on the snare drum when I'm playing w/ Steve Miller, but I rarely use finger stuff on that gig. Usually I'm gripping the whole stick and using wrist and arm stuff because of the volume level we play at. I do use o/c when we play a shuffle, but more American position. I think French grip allows me to keep the mass of my arm closer to my body which makes lifting the arm seem a little easier when you need the additional energy from it. The other thing I like about it is the forearm turn. It allows different, possibly bigger muscles to operate the wrist. I haven't addressed French grip in my Fundamental of Drum Technique series yet because I am still trying to understand it better myself before I shoot a video about it.
You don't need to connect them, just lean them against something - music stand, folding chair, floor tom, etc. what ever works. The two in this video are leaning on music stands.
What would be the advantages of using the open/close method... speed or something else? Also, I'm having a real hard time getting to "big v". It just doesn't seem natural. I'll keep trying it but what would be the advantage or dis-advantage, of little v going to straight as you mention you've seen many guys do? Great instruction! Thanks!
That's OK.The big V can be very open if you want, just slightly elevated from flat. Remember, the size of these movements is tempo dependent. When you are doing it slow, movements are bigger, the "v's" are more pronounced. As you speed up, the movements reduce in size (they have to - time and distance), both "v's" become more open, or flat. So it's not "wrong" to end flat, I just think it's better to end slightly elevated from straight. It's also good to get the wrist involved a bit, so it's not just fingers doing all the work. To me this technique is not about speed, it's about control. Speed and mechanical efficiency are the by products. We all use Open/Close technique when we play a double stroke. That's what happens with our hand when we play the double. Open/Close Technique helps you better understand this, so you can learn to control the rhythmic placement of the second note at will. This is extremely useful in understanding and executing rudiments, particularly flam rudiments. Check out my "MORPHING DOUBLES" videos to see how it works and how simple it is.
Have only been watching your videos for a few days now, so apologies if you've addressed my question in something I've not seen yet: I've been working on and off for a couple of years now to develop this technique. I've struggled with developing speed, but have fair control at slow/medium tempos, but only with hands. Is there a particular methodology/approach you used to integrate your feet while using this hand technique? or does everything sort of fall into place once you've achieved a certain degree of facility? THANK YOU!!!
Don't worry about the speed, it's the movement that is most important, understanding how the machinery works. Here's a way you can incorporate the feet: If you use O/C to play a shuffle ride rhythm, the open is the pick up, and the close is on the beat. Try doing that and playing some shuffle kick and snare parts against it. Then keep the O/C ride mechanics the same but change the rhythm to straight 8ths, the close stroke is still on the beat. Now add a Bossa Nova bass drum and snare drum parts. Yes, once you start to to get this O/C thing it sneaks into your playing very naturally.
@@GKMusic54 I really enjoy your videos! I just noticed this comment. I've been playing the beat with the open and the pickup with the close. It seems like the I should be able to do it either way and the speed should be the same? Was your comment to help with independence and coordination? For double stroke rolls with O/C it seems like the open has to be the first stroke over every double?
@@Mremilioish Open/close is the mechanic of any double stroke. The first movement MUST be an open. For shuffles open is always the pick up, close is on the beat. Reversing that makes no sense because the hand would have to be open more than it's closed, making the mechanics inside out and less controllable. If your are playing an even flow of notes (continuous mode) either movement can be on the beat, but the first mechanical move is always the open, regardless of the orientation to the time. Try playing the shuffle synchronization I describe, then without stopping try to melt it, or morph, it into straight eighths, then back again to a shuffle. It's a great way to understand how to play that "in the crack "kind of feel between straight and shuffled.
@@GKMusic54 Thanks for your answers Gordy, much appreciated. What you say about the shuffle makes complete sense, the two notes are close together so the pick-up should be the open. Morphing as you suggest is great to vary the amount of swing. With straight eighths, I prefer open on the beat for coordination.
Bruce Willis is an amazing teacher and a helluva drummer. Just kiddin'. Respect
As a former boxer, I couldn’t agree more on how beneficial this is. The 3 mirror setup is brilliant.
Your videos articulate so many of the things that I find myself naturally thinking about. You give a clear, concise voice to the serious technician. Really love these vids.
Thanks Ryan!
I've made nice progress grinding your flawless technique, but I kinda slept on this. Gonna get me some mirrors and try this. Can't thank you enough for what I learned from you, you're an *amazing* teacher!
Thank you! Glad to be of help.
Great to see these videos back
What a Master!!!
Gordy, the wrist technique you're teaching is superior. Years of playing left my right hand doing exactly as you teach accidentally... or purposely depending on your view I suppose (like my body just adapted). After having realized some difference I never nailed down exactly what that difference was. After seeing your videos I now know. I have a feeling that I will mention your name multiple times in the future. Much thanks.
Thank you Bill!
Excellent video Gordy.
After watching your videos, I've just realised that I've been doing my wrist actions all back to front when it comes to the Open/Close technique. I'm going to have to go back & relearn it again.
That will probably explain why the tip of my thumbs were wanting to point into the drumstick instead of the pads of my thumbs for the close stroke, I don't know?
Anyway, it's good to see what I've been doing wrong.
I'm going to definitely get another 2 mirrors, I already use one in front of me to keep an eye on even drumstick heights.
Thanks again Gordy.
Excellent video sir
Genius
thanks master
very nice!!!!
I like your video so much! and there is one question : how to use open/close to play triplet....thank you!
Thank you! I think this video will answer your question - ua-cam.com/video/YJL8wZCky7Q/v-deo.html
Could you comment on grip, Gordy? When using the finger strokes my whole grip seems to move to a sort of off-set French grip, wher the stick is parallel to the fore arm though not in line. You seem to be able to maintain a American/German stance through out.
There's nothing wrong about what you are describing. It's a natural position. FYI you can also do open/close from that same position. In fact, as I get older I seem to be moving more to a French position on the snare drum when I'm playing w/ Steve Miller, but I rarely use finger stuff on that gig. Usually I'm gripping the whole stick and using wrist and arm stuff because of the volume level we play at. I do use o/c when we play a shuffle, but more American position. I think French grip allows me to keep the mass of my arm closer to my body which makes lifting the arm seem a little easier when you need the additional energy from it. The other thing I like about it is the forearm turn. It allows different, possibly bigger muscles to operate the wrist. I haven't addressed French grip in my Fundamental of Drum Technique series yet because I am still trying to understand it better myself before I shoot a video about it.
How are you putting the 3 mirrors together? Duck tape, or some kind of connectors? How do you keep them standing up, with out tipping over?
You don't need to connect them, just lean them against something - music stand, folding chair, floor tom, etc. what ever works. The two in this video are leaning on music stands.
@@GKMusic54 how tall are the mirrors you use?
@@MremilioishAbout 4 foot tall. These mirrors are super cheap, probably available at Home Depot or Menards.
What would be the advantages of using the open/close method... speed or something else? Also, I'm having a real hard time getting to "big v". It just doesn't seem natural. I'll keep trying it but what would be the advantage or dis-advantage, of little v going to straight as you mention you've seen many guys do? Great instruction! Thanks!
That's OK.The big V can be very open if you want, just slightly elevated from flat. Remember, the size of these movements is tempo dependent. When you are doing it slow, movements are bigger, the "v's" are more pronounced. As you speed up, the movements reduce in size (they have to - time and distance), both "v's" become more open, or flat. So it's not "wrong" to end flat, I just think it's better to end slightly elevated from straight. It's also good to get the wrist involved a bit, so it's not just fingers doing all the work.
To me this technique is not about speed, it's about control. Speed and mechanical efficiency are the by products. We all use Open/Close technique when we play a double stroke. That's what happens with our hand when we play the double. Open/Close Technique helps you better understand this, so you can learn to control the rhythmic placement of the second note at will. This is extremely useful in understanding and executing rudiments, particularly flam rudiments. Check out my "MORPHING DOUBLES" videos to see how it works and how simple it is.
To see the advantage of the Knudtson technique I would suggest finding Matt McGuire on UA-cam who uses the technique extensively and beautifully!
Have only been watching your videos for a few days now, so apologies if you've addressed my question in something I've not seen yet: I've been working on and off for a couple of years now to develop this technique. I've struggled with developing speed, but have fair control at slow/medium tempos, but only with hands. Is there a particular methodology/approach you used to integrate your feet while using this hand technique? or does everything sort of fall into place once you've achieved a certain degree of facility? THANK YOU!!!
Don't worry about the speed, it's the movement that is most important, understanding how the machinery works. Here's a way you can incorporate the feet: If you use O/C to play a shuffle ride rhythm, the open is the pick up, and the close is on the beat. Try doing that and playing some shuffle kick and snare parts against it. Then keep the O/C ride mechanics the same but change the rhythm to straight 8ths, the close stroke is still on the beat. Now add a Bossa Nova bass drum and snare drum parts. Yes, once you start to to get this O/C thing it sneaks into your playing very naturally.
@@GKMusic54 I really enjoy your videos! I just noticed this comment. I've been playing the beat with the open and the pickup with the close. It seems like the I should be able to do it either way and the speed should be the same? Was your comment to help with independence and coordination? For double stroke rolls with O/C it seems like the open has to be the first stroke over every double?
@@Mremilioish Open/close is the mechanic of any double stroke. The first movement MUST be an open. For shuffles open is always the pick up, close is on the beat. Reversing that makes no sense because the hand would have to be open more than it's closed, making the mechanics inside out and less controllable. If your are playing an even flow of notes (continuous mode) either movement can be on the beat, but the first mechanical move is always the open, regardless of the orientation to the time. Try playing the shuffle synchronization I describe, then without stopping try to melt it, or morph, it into straight eighths, then back again to a shuffle. It's a great way to understand how to play that "in the crack "kind of feel between straight and shuffled.
@@GKMusic54 Thanks for your answers Gordy, much appreciated. What you say about the shuffle makes complete sense, the two notes are close together so the pick-up should be the open. Morphing as you suggest is great to vary the amount of swing. With straight eighths, I prefer open on the beat for coordination.