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.

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.