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Characteristics of the Arm, Wrist and Finger Strokes

Lesson 3/57 | Study Time: 5 Min
Course: Drum Method
Characteristics of the Arm, Wrist and Finger Strokes

Characteristics of the Arm, Wrist and Finger Strokes

There are two important categories which determine the characteristics of each stroke. They are the speed and volume levels capable with each stroke. The volume level equals the weight multiplied by the height of a stroke at a fixed tempo (this is explained in detail in Concept 3). The volume category has been divided into two parts; weight and height.

Volume

Weight

The amount of additional weight that can be added to the stick. For example:

  • The arm stroke can add the weight of the whole forearm or arm.
  • The wrist stroke can add the weight of the hand.
  • The finger stroke adds virtually no additional weight to the stick.

Height

The maximum possible height of the stick for each stroke. For example:

  • The arm stroke can pivot from the elbow or even shoulder, making great stick heights achievable.
  • The wrist stroke achieves a good height, through pivoting from the wrist.
  • The finger stroke pivoting from where the stick is held, and restricted by the fingers, can only achieve relatively small heights.

Speed

The maximum speed possible with each stroke varies due to the amount of weight having to be moved and the agility of the muscles used to propel the stick. For example:

  • The arm stroke is the slowest of the 3 strokes as it must move the weight of the arm. The muscles used to do this are large and relatively slow.
  • The wrist stroke can achieve a good speed as the muscles used are quite agile, and the extra weight of the hand is quite small.
  • The finger stroke uses the most agile muscles and moves the least weight of the 3 strokes, making it possible to achieve greater speeds.

The following diagram shows a comparative score (1 - 3) for each of the strokes in the 2 categories.

Note: Being able to understand the different strokes and isolate each for the purpose of practice, will extend their parameters and hence improve your stick control. However, often combinations of 2 different strokes are used at once. You’ll find these combinations occurring naturally as you progress.

Craig Lauritsen

Craig Lauritsen

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Class Sessions

1- The 3 Strokes of Stick Propulsion 2- INTRODUCTION 3- A Basic Rock Beat 4- Rudiments of Music 5- Explanation of Notation 6- Characteristics of the Arm, Wrist and Finger Strokes 7- Fills 8- Note Values 9- Equipment 10- Exercises for Developing the 3 Strokes of Stick Propulsion 11- Understanding Note Values 12- Bass Drum Variations 13- Concept 3 – The Physics of Volume 14- Concept 4 – Co-ordinating "e’s" and "a’s" 15- Sight Reading Exercises 16- Using the Metronome 17- Repeat signs 18- Bass Drum Variations 19- Upstrokes and Downstrokes 20- Holding the Drum Sticks 21- First and Second Time Bars 22- Snare Drum Variations 23- 3 Steps to Stick Control 24- The Traditional Grip 25- Quarter Note Snare Drum Pulse 26- Rudiments 27- The Matched Grip 28- The Dot 29- Combined Snare Drum and Bass Drum Variations 30- Rolls 31- Practice Suggestions 32- The Tie 33- Hi-hat Openings 34- Triplet Stickings 35- Concept 1 – Minimalization 36- Grace Notes and Principle Notes 37- Syncopation 38- Sixteenth Note Hi-hat Patterns with Bass Drum Variations 39- Stickings Around the Kit 40- Sixteenth Note Hi-hat Patterns with Combined Snare Drum and Bass Drum Variations 41- Joining Stickings Together 42- Eighth and Sixteenth Note Combinations 43- Triplets 44- Hi-hat Openings 45- Dynamics 46- Accent Studies 47- Concept 2 – Playing ¼ Note Triplets 48- Offbeat Snare Drum Patterns 49- Additional Hi-hat and Ride Cymbal Variations 50- Shuffle Patterns 51- Swing 52- Go-go/Hip-hop 53- Latin American 54- Reggae 55- Funk Patterns 56- Odd Time 57- Solos

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