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.

MURRAY SPIVACK DRUMSTICK GRIP METHOD

By Ed Flack ©2014

There are two ways to hold a drum stick in the broadest of terms: overhand and underhand. When both sticks are handled with the same kind of overhand grip, it is called a “matched grip.” When the left-hand holds the stick using an underhand grip while the right-hand holds the stick with an overhand, it is called traditional, conventional, asymmetric, or mixed. Beyond this general description, the details of the grip become more complex.

Holding the stick below the hand will allow maximum wrist-turning range (extension and flexion). It also allows a 180-degree range of forearm rotation, from the palm facing down to the palm facing up (pronation and supination). There are many ways the pivot point, or fulcrum, of an overhand grip, can be applied. Two practical methods in general use are the index finger grip and the middle finger grip.

INDEX FINGER GRIP

Using the thumb and index finger creates a pivot point behind which the rest of the fingers are aligned to exert leverage by pulling up on the stick. The pivot point is established slightly behind the stick’s balance center (about 1/3 the distance from the butt end). The index finger grip is excellent for wrist or finger techniques. Switching between wrist and finger control is a simple matter of opening and closing the fingers behind the index finger fulcrum point.

WRIST: Lightly closing the fingers behind the thumb’s grasp and index finger will transfer control of the stick from the fingers to the wrist. The closed finger grip must not be too tight; the stick needs to have enough free play to bounce.

FINGERS: The finger control position of the overhand grip is established with a relaxed downward bend at the wrist, allowing the fingers to open and extend while minimizing wrist action. The stick pivots at a fulcrum point between the thumb and index finger, with the middle finger or ring finger pulling upward in response to rebound.

The index finger grip is well-suited for lighter playing, such as in concert bands and orchestral settings, because it makes it easy to lightly squeeze the stick for pressed techniques. This grip also offers precise rudimental control for field drumming because it effectively breaks the rebound to control taps, diddles, and grace notes.

MIDDLE FINGER GRIP AS TAUGHT BY MURRAY SPIVACK

Setting the stick’s pivot point at the middle finger was taught by Haskell W. Harr, Earl Sturtze, and many others.1 It is sometimes called the “Spivack Grip” in honor of Murray Spivack (1903–1994). Spivack was a Los Angeles-area percussion teacher who did not invent this technique but did a lot to promote its use. Among his many successful students were jazz luminary Louie Bellson and funk aficionado David Garibaldi.

Spivack explained the grip as a three-finger hold that begins by cradling the stick beneath the palm in the crook of the first joint of the middle finger. The hand is turned palm down, and the stick is allowed to pivot freely with a seesaw-like motion. According to Spivak, the fulcrum point needs to be as narrow as possible because “The narrower the fulcrum or balance point, the better the stick will rebound.”2 With the middle finger established as the fulcrum point, the thumb and first finger are then brought together to guide the stick, touching it very lightly. The third finger (ring finger) and little finger remain relaxed in their natural curl around the stick’s back end but not touching it. Do not allow the little finger to stick straight out.

This grip has a very loose and relaxed feel, allowing an uninhibited rebound that produces a good quality of sound from the drum and a lot of power when a higher volume is needed.

Being comfortable with grip variations will prepare you to adapt to different musical situations. Some grip methods are best for powerful playing, and others are better for speed. Changing grips as you play will distribute physical effort over a range of muscles to increase endurance and reduce the risk of repetitive-use injuries.

NOTES
1. Haskell W. Harr, Drum Method: For Band and Orchestra, Book Two (Chicago: M. M. Cole Publishing Co., 1938), 70;  Earl Sturtze, The Sturtze Drum Instructor (Ivoryton: Reissued by The Company of Fifers and Drummers, Orig. 1956), 6;  Wm F. Ludwig, Sr. and Wm F. Ludwig, Jr., W. F. L. Drum Corps Manual (Chicago: Ludwig Drum Co., 1948), 6.
2. Murray Spivack: A Lesson With Louie Bellson, performed by Louie Bellson and Murray Spivack. Director: Sandy Feldstein, (1995, Van Nuys: Alfred Music Publishing Co., 2010). DVD.