Guide to Identifying a Super-Ludwig 400

by Ed Flack © 2017

According to legend, the Ludwig Supra-Phonic is the “most recorded” snare drum of the 1960s and 1970s. I don’t know if that is true, but it is plausible, and why not? The Supra-Phonic is a great drum, and Ludwig sold a lot of them.

The modern version of this snare drum went into production in 1958 as the “Super-Ludwig.” The first drums, named Super-Ludwig with the original Art Deco lug design, were made available in 1936 using wood shells. The 1958 Super-Ludwig was made of one solid piece of rolled brass formed into a cylinder and welded. By 1962 Ludwig changed the name to “Super-Ludwig 400” (the significance of the number 400 is not known—likely just a marketing gimmick?) The next significant design and name change occurred in 1963 when Ludwig switched from rolled brass to a spun aluminum shell, calling it the “Supra-Phonic 400.” The aluminum shell has no welds, and Ludwig introduced it as the “Acousti-Perfect” shell. At first look, the Super-Ludwig and the Supra-Phonic can be mistaken as the same model drum, yet there are significant differences. Here are some specific features to look for if you want to identify a Super-Ludwig from a Supra-Phonic. 

1. As already referenced, from 1958–1962, the Super-Ludwig was made from a rolled brass and welded shell. After the brass models, the Supra-Phonic shell material was made of spun aluminum with no welds. The evidence is seen in the bubbles, pitting, and excessive chrome peeling from the early Supra-Phonic snares’ surface. Chrome does not adhere well to an aluminum surface, but it works well on brass. Another noticeable characteristic of brass is that it is much heavier than the Acousti-Perfect Ludalloy (aluminum) shell. The Super-Ludwig weighs about 10 pounds.

2. The bearing edge on both brass and aluminum shell models is 45º. These are created by rolling the top and bottom edges inward to form a collar or “flange.” The collar also serves to strengthen the shell and help support and maintain the shell’s circular shape. However, there is a second shorter flange on the Super-Ludwig models at the final edge that curls back and slightly under the primary collar.

3. The famous Ludwig Keystone badge on the brass Super-Ludwig and Super-Ludwig 400 never had a serial number. Conceivably, there may be a very few early Supra-Phonics produced in 1963 that have no serial numbers? But since 1964, all Ludwig snare drums have a serial number on the badge.

4. The Imperial lug casings. This attractive Art Deco design originated in 1935 to commemorate the 25th year “Silver Anniversary” of the Ludwig company. The Super-Ludwig lug casings are heavier than the Supra-Phonic lugs. Ludwig also made a slight design change to the Supra-Phonic Imperial lugs.

If you view an Imperial lug from the side profile, you will notice three flat plains or levels that appear as though they are almost stacked on to one another. They create ridges between each successive level so that the top or outmost shape is smallest, and the innermost surface is the largest, forming the bulk of the lug’s figure.

Both models’ Imperial lugs are the same size, but each of the three ridged plains of the lugs on a Super-Ludwig is smaller than on the Supra-Phonic lug. The Imperial lugs on a Super-Ludwig have a smaller inside cavity and shorter spring resulting in more metal mass and lug weight.

5. The counter hoops of a Super-Ludwig are chrome over brass. The counter hoops of the Supra-Phonic are chrome over steel. A magnet will attract to the steel hoops but not to the brass hoops. The magnet test cannot differentiate the shells because neither brass nor aluminum will attract a magnet. However rare, it is possible to find an early Supra-Phonic fitted with Imperial lugs of the Super-Ludwig style. When Ludwig made a design change, they gradually used up the previous models’ leftover inventory, resulting in some overlap. 

6. The snare beds of the Super-Ludwig are crimped. The snare beds of an Acousti-Perfect shell appear less severe and not as apparent because they are gradually tapered away from the snare wire center position, and there is no visible crimp to the bed.

7. The strainer on the early Super-Ludwigs and Supra-Phonics was the P-83 model, and later models received the P-85 strainer. The oldest P-83 strainers were stamped “WFL.” The WFL stamped were gradually replaced with the same strainer showing the script Ludwig logo. The butt plate was stamped “WFL” on the older versions and eventually replaced by the script Ludwig logo.

How do these two iconic variations of snare drum compare where it matters, that is to say, in sound and playability? I would say both models perform spectacularly well. I resist using terms like “warm” or “bright,” but I will say the stick response of both shell versions is excellent from the outmost edge of the head surface to the center. I attribute this in no small measure to the fact that there are ten tuning rods per head.

Both drums have a good range of tunability, from the low end of good head response to a high and tight tuning. I do recommend that if you have an early Super or Supra that you will realize the best feel and tuning when using a single ply, coated drum head.

One characteristic of these drums is that the snare wires are quite “buzzy.” Not just from sympathetic resonance from other instruments but also in solo performance. The buzziness of the Supra-Phonic is better controlled with bottom head tuning than the Super-Ludwig. The buzziness is more manageable because the Acousti-Perfect snare bed is shallower than the deep snare beds of the Super-Ludwig. Deeper snare beds require that the rods on each side of the snare beds receive more torque in tuning to eliminate wrinkles in the snare head.

I have experimented with various snare wires on both drums, including standard Ludwig snare wires, Puresound wires, and the Rhythm Tech “Active Snare System,” which is sort of like a fake Dyna-Sonic snare bridge. Each of them has performed well, the differences are subjective, but in my opinion, the Rhythm Tech does help dry up some of the Supra-Phonic buzziness. I use Ludwig wires on the Super because those are the snares that would have been the original stock.

So, if you do not own a Super or a Supra and you find yourself with an opportunity to get one in good condition, you should do it! The Supers are relatively rare, and if they have not been abused or neglected, they hold up exceptionally well. Even a 1960 Super can still look new, and if well maintained, it will continue to look good and serve well, long after we are all gone.

The Supra-Phonic can look terrible with the bubbling chrome finishes, but that has zero effect on the drum’s sound and playability. Once upon a time, I considered that to be an ugly flaw and symbol of an inferior drum design, but I am no longer so prejudice against their appearance. I think the pitting and bubbles lend a unique character to the drums. The pitting may even work to your advantage as a buyer because most folks want to own the “pretty” drum. Another bonus of its distressed appearance is that you don’t worry so much about picking up a few extra scratches, making this drum a perfect workhorse for gigs.

Thank you for taking the time to absorb this tiny slice of Ludwig drum history. I am by no means the highest authority on this subject. I happen to own these two drums, and as a valued part of my collection, I conducted personal research to better educate myself as to what I have.

The Drumslingers, Who Are Those Guys?

The Drumslingers were a group of former drum and bugle corps drummers from NE Iowa, formed in 2005 through Rick Dunlevy’s initiative. Rick needed corps-style experienced drummers to practice with and help him “get his chops back” to march with The 2006 Madison Scouts Reunion Corps.

Through their drum corps experiences, the Drumslingers were fortunate to learn from some note-worthy instructors. These teachers included three Drum Corps International Hall Of Fame members: Larry McCormick, Fred Sanford, and Tom Float.

Other esteemed teachers in their collective backgrounds include Don Porter Jr. from The Anaheim Kingsmen, Ron Hermann and Gary Moore of The Cavaliers, Bruce Lages of The Madison Scouts, Tim Boland of The Dubuque Colts, Bill Staudts of The Norwood Park Imperials, Terry Therion of the LaCrosse Blue Stars, and Randy Hogancamp of the University of Northern Iowa.

From 2006-2009, the Drumslingers were a regular attraction at many NE Iowa community events, marching in parades and performing standstill sets. They no longer perform publicly but maintain their friendships and still get together from time-to-time to socialize and do some drumming.

The “Drumslingers” name is derived from a play on words – drawing on the outlaw mystique of the word “gunslinger” while referencing the traditional method of using a “sling” to carry drums.

The Drumslingers members and some of their drumline experience:
Tom Blankenship, Waterloo Chevaliers, and The Cedar Glen Pipes & Drums Band.
Rick Dunlevy, Waterloo Chevaliers, and the Madison Scouts.
Kevin Faber, The Concord Blue Devils.
Ed Flack, Chevaliers, UNI Panther Marching Band, Cedar Glen Pipes & Drums Band.
Mike Flack, Osage Precisionnaires.
Randy Kauffman, Tripoli, and Decorah High School Marching Bands.
Dave “Mo” Moyer, The Dubuque Colts.
Dave “Wags” Nicholas, Waterloo Chevaliers, Waterloo Royals, The Dubuque Colts.
Tim Nicholas, Waterloo Chevaliers, Waterloo Royals, The La Crosse Blue Stars.
Wayne Stambaugh, Waterloo Chevaliers.
 

GEORGE LAWRENCE STONE & THE DODGE DRUM CHART

George “Larry” Stone was born in 1886. He learned drumming from his father, George B. Stone, a drum teacher and maker of drums in Boston, MA. He also studied drums and mallets with Harry A. Bower and Frank E. Dodge.1

He is remembered for numerous musical achievements and as a teacher. His most famous student was jazz legend, Joe Morello. In 1933, Stone was one of the 13 founding members of the National Association of Rudimental Drummers (N.A.R.D.)

He is most famous for writing his brilliant system of exercises for developing drumming skills in his landmark book, Stick Control for The Modern Drummer. In the preface, Stone wrote, “STICK CONTROL is a highly specialized practice-book, dealing with just one branch of the art of drumming. It is an advanced book, consisting of a progressive, highly concentrated collection of rhythms, arranged in a calisthenic form.”2

Stick Control is not a self-instructor like previous method books; it contains minimal narrative explanation regarding techniques. It is designed for use as a work-out book for experienced drummers and as a resource for teaching. To take full advantage of the wisdom behind Stick Control, you need to have already a solid understanding of grip, playing positions, and stroke techniques. Or, you need a qualified teacher to lead you through it.

Joe Morello described his former teacher as having “a dry New England sense of humor.” Morello said, “Larry Stone’s basic studies were all about a natural approach to drumming. He insisted that there shouldn’t be any tension in your body while playing drums. From handholds to the rebounding of the sticks, every aspect of playing drums should be relaxed and stress-free.”3 Stone wrote other books of value, including Accents And Rebounds, and a book of rudimental cadences titled Military Beats for School and Drum Corps.

A lesser-known book, edited by Stone that is an excellent resource for the student drummer, is The Dodge Drum Chart For Reading Drum Music, by Frank E. Dodge (1908.) In 1928, Mr. Stone re-arranged and published a new edition, marketed with the claim: “This book is a veritable dictionary of orchestral drumbeats.”4

Stone’s revision of Dodge’s work illustrates 400 rhythmic notations displayed in rows and columns for easy cross-referencing. Stone conveys his deep respect for Frank Dodge by using the iconic “Continental Drummer” graphic on the cover of Stick Control. That artwork is from the original F. E. Dodge Company logo. Dodge’s logo also appeared on the cover of his book, The Dodge Drum School (1909.)5

The Dodge Drum Chart is a useful resource for students who need help interpreting written rhythms; it is a handy reference for any musician writing music.

F.E. Dodge Co. logo: Dodge’s Colonial Drummer graphic. (Redrawn by Ed Flack.) 

NOTES

1. “George Lawrence Stone.” Wikipedia. Wikimedia Foundation, January 3, 2020. https://en.wikipedia.org/wiki/George_Lawrence_Stone. 

2. Stone, George Lawrence. Stick Control for the Snare Drummer (Boston: George B. Stone & Son, Inc. 1935), 4. 

3. James, Barry, with Joe Morello. DRUM LESSONS WITH GEORGE LAWRENCE STONE: a Personal Account on How to Use Stick Control. S.l.: ALFRED PUB, CO, 2019. 4.

4. Dodge, Frank E. Dodge Drum Chart for Reading Drum Music: Arranged Edition. Van Nuys, CA: Alfred Pub Co, 2009

5. Vinson, W. Lee. “F. E. Dodge Co.” bostondrumbuilders. Lee Vinson, 2012. http://www.bostondrumbuilders.com/dodge.html.

Drum Roll Lessons of the Ancient Masters, 1780–1886

by Ed Flack, ©2015

The traditional way of naming drum rolls is to identify them by the number of “strokes” that it takes to play a roll in a given count of time. This naming convention was established hundreds of years ago by military drummers using rope-tension drums. Double stroke rolls were played as two deliberate down-up motions by each hand in alternation (the double beat). The number of roll beats sounded was equal to the number of hand motions, or “strokes” required to play the roll.

Bouncing the stick was not a consistently reliable roll technique because the tension of a calfskin drum head is subject to the ever-changing conditions of temperature and humidity. In the available record of American and British drum method books published between 1780 to 1886, there is no evidence that stick bounce or “rebound” was used to explain the drum roll technique. That said, rope drums do generate rebound and we have no reason to assume that drummers in the past never took advantage of stick bounce.

The following quotes regarding stick grip methods and how drum rolls were taught are excerpts from drumming tutorials and official military music performance directives that were published between 1780–1886. These excerpts are presented without editorial commentary for readers to draw their own conclusions.

James Longman and Francis Broderip (1780)
“The first thing to be learnt, is to hold the Sticks, which is a principal part in Drum-beating. The left hand Stick which is the most difficult is to be held firm between the thumb and the upper joint of the fourth finger. The lower or right hand Stick, to be griped fast with the little finger, and to be held as a Man may use a Stick in Fencing.”

“The second is to learn to roll, which is to begin with the left hand beating two strong strokes, then two with the right, and so on quickening the time till the roll is closed.”

Charles Stewart Ashworth (1812)
“The first thing to be attended to by the Young Learner is to hold the Sticks properly: the upper, or left-hand stick is the most difficult to be managed at first: it must be firmly held between the thumb and two middle fingers, to rest on the third finger a little above the middle joint. The lower, or right-hand stick must be held fast with the little finger, and be allowed to play with ease through the others, as a man may use a stick in fencing.”

“The next to be learnt is to close a roll: begin with two heavy strokes with the upper, or left hand, then two with the right, and so on, quickening the time till the roll is closed.”

David Hazeltine (1817)
“The drum sticks should be held in the following manner; viz. the three last fingers of the right hand should be clinched round the stick to the hand, the forefinger should be loosely clinched round the stick to the thumb. The stick in the left should be held in the hollow of the hand between the forefinger and thumb, passing down between the great finger and the finger below it; the forefinger and the great finger should pass over the stick, and the other two should pass under it, the forefinger should be clinched also to the thumb. Being thus fixed so that the scholar may have the ablest command of himself, and standing easy he may proceed.”

“Long roll, is beat as follows, strike two strokes with the left hand, then two with the right hand, and continue striking in a like manner till it commences a close roll, by striking quicker and quicker.”

Sam L. Potter (1817)
“The first thing previous to a Boy practising on the drum is to place him perfectly upright and place his left heel in the hollow of the right foot. Then put the drum sticks into his hands the right-hand stick to be grasp’d with the whole hand about two inches and a half from the top (or more if requir’d) as drum sticks are not all of the same weight, similar to grasping a sword or stick when going to play hack-sword: The left to be held between the thumb and forefinger of the left hand close in the hollow the top towards the wrist leaving the top of the stick as much out of the hand as the other resting, it resembling a pen when going to write, only with this except on between the first Joints of the second and third fingers.”

“In learning the long roll which is the foundation of drum-beating; The boy must strike the drum twice with each stick beginning with the left hand first, throwing his arms up between each as in the first position and gradually lowering them according to the closing of the roll. Be sure he keeps the buttons of the sticks as far as possible from the drum head between each time he strikes and both sticks should strike as even (i.e.) as near the same weight on the drum as possible.”

Alvan Robinson (1818)
“The stick in the right hand should be held naturally; that is, it should pass between the thumb and forefinger; the little finger should be loosely closed round it, and it should be held firmly with the thumb and forefinger. The Stick in the left hand should pass between the thumb and two forefingers and over the third and fourth, the first and second closed round it to the thumb. Thus prepared, the learner may with an unshaken resolution and a full determination to accomplish his design.”

“The long roll is performed by striking one, two, light strokes with the left hand; three, four, with the right; five, six, with the left; seven, eight with the right, and so on until a close roll is performed by striking quicker and quicker.”

Levi Lovering (1823)
Lovering offers no advice as to how to hold the sticks.

“Strike the drum with the Left hand twice, the first very light, the second a smart full stroke ... then strike with the right hand in the same manner as with the left; taking care to throw the arm out briskly to the side of the body, and as high as the head, which will enable the learner to keep time: Care should be taken when the stick touches the drum, to have the elbow close to the side. Practice this beat, contracting at each stroke the distance to which the arm is thrown out till the arms remain close to the side, and it becomes a close roll.”

George D. Klinehanse (1853)
“The left-hand stick is the most difficult to use; it should be held firmly between the thumb and the two middle fingers, resting on the third above the middle joint. The right-hand stick must be held with the thumb and forefinger closed around it, allowing the stick to play through the hand with ease.”

“To close a roll, begin with the left hand, then the right, quickening the time until it is finished. It is necessary that strict attention should be paid that the pupil be not permitted to beat any lesson, except what is laid down in the book; and never undertake the second until he has learned the first properly.”

Keach, Burditt, and Cassidy (1861)
To explain stick grip, two illustrations are used. The first, identified as “Plate No. 1” shows a drummer with the hands raised high in a preparatory position and is described as “Position at Commencing.” The second, “Plate No. 2” shows a drummer holding sticks with the beads resting in the center of the drum head, and is titled “General Position.” (See image below.)

“The Roll is the foundation of all drumming. The Roll being to the beginner on the drum, what the gamut is to a beginner on either wind or stringed instrument. The pupil should commence beating the Roll very slow, holding the sticks as in Plate (No.1) dropping each time gradually as the time increases, and beating within the centre of the head, as in Plate (No. 2,) in a circle of about two inches, increasing the time until a close roll is beat; then decreasing the time until he beats as slow as at commencing. In commencing the roll, two beats are made first with the left hand, (the second beat louder than the first,) then two beats with the right hand, (the second louder than the first.) In expressing the beats on the drum, different words are used by teachers. We shall use as the best, the words Dada, and Mama; Dada for the left hand, and Mama for the right hand.”

Col. H. C. Hart (1861)
“The right-hand stick should be held snug, with the whole hand closed, the ball of the thumb against the side of the first finger joint, the stick just balancing where the thumb and first finger grasp it. The left-hand stick should rest in the hollow of the thumb and first finger, between the first and second joints of the second and third fingers, and held by the thumb and the two first fingers – the ball of the thumb against the side of the first finger joint, and this stick should balance where it rests between the second and third fingers.”

“The most particular thing to be observed is uniformity in beating, and I wish the pupil to bear this in mind, as it will not be separately explained with every beat or roll. First, commence slow and always with the left hand; let every blow be distinctly heard and continue to beat faster and faster until each separate roll or beat is closed smoothly and fine, and wherever a break or an irregularity in beating occurs while closing down the rolls or beats, commence back again where you can beat them plain and even, and so continue to practice, closing them down until perfected in a close roll, and until you have become practically acquainted with the several beats and their changes from hand to hand...”

George B. Bruce (1862)
“The next thing to be attended to by the pupil is proper management of his arms and the drum sticks. The left hand (which is the most difficult to manage at first,) should grasp the stick firmly but not too tight, between the thumb and first two fingers, passing over the third, and resting a little below the middle (or large) joint; the thumb in the meantime resting on the forefinger. The stick in the right hand should be held between the thumb and fingers lightly, with the little finger pressing it, so as to play through the hand, as a man would use a stick in fencing. The arms must be habituated to move with the greatest ease, while the shoulder joints and wrists are exercised in performing the principal part. It is absolutely necessary, that the learner should first practice the Long roll until he can close it smoothly, then commence the next lesson and perfect himself in that ... The learner should be careful and not raise the sticks too high having brought the roll to a close; he should also beat in the center of the head, within a circumference of about two inches.”

“The first lesson of the pupil ...  will be the Long Roll, or as it is more familiarly called, Da-da, Ma-ma. The upper beats (or notes) are made with the left hand, and the lower ones with the right hand, commencing with the left very slow, and gradually increasing in velocity until closed down to a roll. The first stroke of each hand should be made somewhat lighter than the second.”

Elias Howe (1862)
Howe’s United States Regulation Drum And Fife Instructor is a thorough and comprehensive collection of music and instruction for the fife, drum, and bugle. However, Howe’s instructions on holding the sticks and playing a long roll are word-for-word the same as written by Alvan Robinson in his book, Massachusetts Collection of Martial Musick. Note: Elias Howe the musician, is not the same Elias Howe who invented the sewing machine.

Gardiner A. Strube (1869)
“The position of the Pupil should be, as near as possible, that of the soldier as explained in Upton’s Tactics. The drum should hang naturally from a belt placed about the neck and should rest against the left leg, a little above the knee. The left-hand stick, which is the most difficult to manage, should be held in the hollow of the hand between the thumb and first two fingers, passing over the third between the first and second joints. The right-hand stick should be held with the thumb and all fingers closed around it; the little finger should press it harder than the rest, so as to allow it to play through the hand when beating.”

“The first lesson of the Pupil will be the Long Roll or Double-Stroke Roll. The Pupil will commence this lesson, as below indicated, by making two hard strokes with the left hand, then two hard strokes with the right hand, and so continue, alternately changing from hand to hand, and gradually beating faster and faster until perfected in a close, smooth roll. The Pupil will endeavor to beat in the centre of the head, within a circle of about two inches.”

John Phillip Sousa (1886)
“The right hand should grasp the stick at about two inches from the end, the thumb well under; and the left hand should hold the stick lightly, between the thumb and first two fingers, passing over the third, and resting on the first joint, the thumb on the fore-finger. Care should be exercised in keeping the first and second fingers bent slightly towards the palm of the hand. The stick should be held about three inches from the end. There should be a slight space between the elbows and the body, the forearm, and hand somewhat elevated so that when the button of the stick rests on the drum-head, the arm will be in the form of a letter L reversed.”

“The action of the arms in rolling or beating must be limited as much as possible to the fore-arms and wrists. The buttons or heads of the sticks should strike about the middle of the drum-head ... To acquire suppleness of the wrists, a good plan is to hold the sticks together about three inches from the buttons and turn them, at first slowly, and gradually increasing the movement until great rapidity is attained.” 

BIBLIOGRAPHY
Ashworth, Charles Stewart. (1812). A New, Useful, and Complete System of Drum Beating. Boston: G. Graupner.
Bruce, George B. & Emmett, Daniel. (1862). Drummer’s and Fifer’s Guide. New York: Firth, Pond & Co.
Hart, Col. H. C. (1861). New and Improved Instructor For The Drum. New York: H. C. Hart.
Hazeltine, David. (1817). Instructor In Martial Music. Exeter: C. Norris and Co.
Howe, Elias. (1862). Howe’s United States Regulation Drum and Fife Instructor. Boston: Elias Howe.
Keach, Burditt, and Cassidy. (1861). The Army Drum And Fife Book. Boston: Oliver Ditson and Co.
Klinehanse, George D. (1853). The Manual of Instruction for Drummers. Washington D.C.: G.D. Klinehanse.
Longman, James & Broderip, Francis. (1780). The Young Drummers Assistant. London: Longman and Broderip.
Lovering, Levi. (1823). The Drummer’s Assistant for the Art of Drumming. Philadelphia: J.G. Klemm.
Potter, Sam L. (1815). The Art of Beating the Drum. Westminster: Henry Potter.
Robinson, Alvan. (1818). Massachusetts Collection of Martial Musick. Hallowell: E. Goodale.
Sousa, John P. (1886). The Trumpet and Drum. (Reprint Chicago: WFL Drum Co., 1954). Washington, D.C.: Sousa.
Strube, Gardiner A. (1869). Strube’s Drum and Fife Instructor. New York: D. Appleton & Co. 

If you are interested in learning more about the evolution of the American snare drum style, and would like to see the original publications, an excellent resource for reproductions of many historic drum method books can be found is through Mr. Edmund W. Boyle, at his website: http://www.beafifer.com/

Snare Drumming, The Little Finger Grip Method

by Ed Flack, ©2015

Military fife and drum tutors of the 19th century typically explain the right overhand stick grasp between the little finger and palm, or the ring finger and palm. The thumb and forefingers remain loosely closed to guide but not hold the stick. This method was prescribed by Charles S. Ashworth (1812) and George B. Bruce (1862).1

Sanford G. Moeller endorsed the little finger grip in 1925. He wrote, “...  attention might be drawn to the fact that the right stick is held almost entirely with the little finder ... When the stick is placed on the drum, the other fingers are closed around the stick, but very lightly if touching at all. This gives a most powerful and safe grip, but not rigid, and at the same time anatomically correct, allowing a comfortable hang to the arm, preventing stiffness, cramp, and fatigue.” 2

The hand is positioned palm down, but rather than bending the wrist, this stroke’s momentum generates primarily from forearm rotation with the stick angled across the hand’s metacarpal bones.

A typical rope drum has a wood counter hoop that is much taller than the metal counter hoops of screw-tensioned drums. Consequently, the hands’ playing position relative to the drumhead needs to be high enough for the strokes to clear the hoop. A slightly raised playing position in conjunction with a right-hand little finger grip ensures that the sticks will not inadvertently strike a tall counter hoop.

The little finger grasp point is very close to the butt end, adding a powerful mechanical advantage, like swinging a baseball bat, an ax, or a golf club.

Notes:
1. Charles Stewart Ashworth, A New, Useful and Complete System of Drum-beating
(Boston: G. Graupner, 1812), page 1.
George B. Bruce and Daniel D. Emmett, The Drummers’ and Fifers’ Guide
(New York: Firth, Pond & Co., 1862), page 5.
2. Sanford A. Moeller, The Art of Snare Drumming (Chicago: Ludwig Music Publishing Co., Inc., 1925), page 4.

FOUNDATIONAL EXERCISES TO DEVELOP DRUMMING TECHNIQUES

Ed Flack ©2020

Earl Sturtze, a famous Connecticut drum teacher who trained many National Champions, wrote, “The three basic rudiments of drumming are the Single Stroke Roll, the Long Roll, and the Flams. All other rudiments are derived from different combinations of these three.”

He also said, “Some experts claim that, since the ‘flam’ is a derivative of the ‘single stroke roll,’ there should only be TWO basic rudiments.”¹

Sturtze’s case for distinguishing the flam as independent from the single stroke roll is strong because flamming requires coordinated and coactive actions between hands to combine a high primary stroke with a low grace note. Furthermore, each hand’s stroke can be a high-to-low or a low-to-high motion, whereas single roll strokes are equal heights. With that in mind, the control of two-height accent-to-tap and tap-to-accent strokes is an essential skill for successful flam execution.

Four widely-known exercises form the core of a successful warm-up and practice routine because they engage the “three basic rudiments” as identified by Sturtze: 

1. eight-on-a-hand (one-height);
2. bucks (two-heights);
3. Sanford double beat (one-height);
4. Sanford triple beat (one-height.)

These four foundational exercises are designed to be practiced one hand at a time. The advantage of working on each hand in isolation is to allow focused attention on specific motions, grip, and playing positions until all actions are consistent. 

Once each hand has the proper motions programmed into muscle memory, the drummer can bring both hands together to coordinate specific sticking sequences with a much better chance of achieving an even balance in hand-to-hand motions and sound.

Practice Tip: Another way of using one-handed exercises to build balance and fluidity is to practice them as simultaneous double-stops; this is an excellent strategy for matching stroke motions, heights, and volume dynamics.

NOTES

1. Sturtze, Earl. The Sturtze Drum Instructor (Ivoryton: reissued by The Company of Fifers and Drummers, Orig. 1956), 10.

CEDAR GLEN PIPES & DRUMS PREPARED TO PLAY AT IOWA IRISH FEST

CEDAR FALLS, IOWA (July 12, 2014) – Local pipers and drummers stepped up to fill a void in the 2014 Iowa Irish Fest opening ceremonies. Because of a schedule conflict, the Iowa Scottish Pipes & Drums of Des Moines declined this year’s invitation.

With the Iowa Scottish Pipes & Drums unavailable, Irish Fest committee members needed to look no further than Cedar Falls to enlist the talents of an experienced piper, Ross Schupbach.

Schupbach has played the pipes for about 15 years. He previously marched with the Thunder Mountain Pipe Band at Grand Junction, Colorado. Since moving to Cedar Falls, Ross has played at many local venues and community events. He often performs as a duo with Russ Clarke, another Cedar Glen Pipes & Drums member.

Rounding out the piper corps are Greg McConoughey, a veteran of the Detroit Caledonia Pipe Band, and two of Schupbach’s bagpipe students, Mike Knapp and Pat Morrissey. 

“I knew at our first meeting we would be the best damn pipe band in town,” recalls Knapp. “True, but we’re also the only pipe band in town,” added Morrissey.

For a pipe band to march, it needs drummers. Iowa Irish Fest committee member Greg Tagtow just happened to know a guy who could help. Tagtow contacted Ed Flack and introduced him to Schupbach. 

Flack has performed three seasons as a concert drummer with the Waterloo Municipal Band and has field drumming experience through drum & bugle corps, high school, and college marching bands. Ed was excited to learn the pipe band drum style, famous for its rhythmic complexity and challenging techniques. 

Drummer Elizabeth Collins brings two years of pipe band experience as a snare drummer with the Chesapeake Caledonian Pipes & Drums. Her understanding of pipe band drumming is a welcome asset.

Bass drummer Tom Blankenship has much drum and bugle corps experience and can play any drum in the line. Completing the drumline is Bill Brown on the tenor drum. Pipe band tenor drumming is unique in the world of marching percussion. It involves a complex series of mallet spinning techniques called “flourishes.”

According to Pipe Major Schupbach, “In the beginning, my only concern was that we could sound decent to the average sober parade watcher.” Band members now agree that the group has exceeded all personal expectations in the short time since coming together.

The Cedar Glen Pipes & Drums members are honored and excited to perform at the 2014 Iowa Irish Fest. The band will lead the Opening Ceremonies Parade on Friday, August 1, at 4:00 PM.