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.
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.
