The Posture of the Modern Drummer – Technical article

The importance of movements and how we sit on the drums.

This theme is finally taking up more and more space within the specific teaching aimed at the modern drummer. More you know on site.

Too often taken for granted, the careful posture on the instrument can prevent a student who is not at ease from having a difficult life in moving forward in their instrumental, sound, and physical growth.

Ignorance on these topics creates doubts for many of us drummers !!!

With this article, I would like to establish even more the importance of the world of “correct” movements on the set and insist on its validity.

If we look closely at the most influential modern drummers in the world such as Vinnie Colaiuta, Steve Gadd, Dave Weckl, Gavin Harrison, Peter Erskine, and others, we must notice that these monsters, constructively obsessed with their research on the instrument, they go to dissect and consequently improve those aspects that lead our body to relate to the instrument. You wait too often taken for granted.

The posture of the back, the height of the stool, the distance from the pedals and the drums, the whip movements of the upper limbs, the breath and the voice, also called the “fifth limb”, become essential topics also for the growth of perception musical and psychic.

We must necessarily observe that these artists exploit and study the laws of physics in relation to sensation. With those notions, breaking down the limits of technique, speed and groove no longer seem like utopia.

The strong focus on movements makes perceptual growth possible, makes beginners develop musicality much faster, avoids muscle aches and pains such as back pain, headache, tendonitis, and above all, it consistently increases the feeling of being at ease in the relationship with battery.

In short, it seems little?

In this first phase, I will try to tell with the help of simple visual examples my experience of the “initial positioning on the set” to which I dedicate a lot of attention in teaching with students of any level.

 Let’s sit behind our beautiful drums, and try to think, observe, and start with the right approach, without fear, friction, or tension.
If we have a mirror, let’s just use it at the beginning, then let’s break it! It would be better to learn as soon as possible to trust our identity, so if you like playing using a matched technique as opposed to a traditional technique, do it! If you are left-handed and want to sound like a right-handed, do it! But go all the way!

We study at medium / slow speed (better slow) to listen to all the sensations that flow on the skin trying to feel and control the movements which, initially, must be wide, relaxed, and slow. We must teach our brain that, after a period of exercise, it will be ready to metabolize and make them more natural, immediate.

Without a doubt, each of us has limbs of different lengths and mobility. There may be people who have an inner image that perfectly reflects the movements we are talking about or others who can easily emulate what they see and hear. It seems that ” mirror neurons ” are a discovery of this century and perhaps also for this reason it is very good to watch the videos of the drummers we admire.

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