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Thread: How to practice the Stick Control book

  1. #26

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    ������
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  2. #27

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    /\ What does that mean??

  3. #28

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    Quote Originally Posted by inthpktplayer View Post
    /\ What does that mean??
    I think it means that someone wants 2 eggs sunny side up.

  4. #29

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    As an adult student this book has been very helpful to me with my drumming. I have had my book over 25 years because I play conga as well and used stick control as hand exercises for conga. I practice it slowly to get the sticking down then increase the speed until it breaks up so I back it down to the highest speed I can comfortably play. I do each line of the first three pages for about a minute each.
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  5. #30

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    I looked at that book once, decided it would make me nuts, put it back on the shelf.

    Drumming is mainly single stroke and double strokes. When I get behind my set, I'll play with just the left hand and the BD, then switch hands.

    After that, I'll just take rudiments and mess with them. RLRRLRLL (SIMPLE PARADIDDLE) get's turned into RLRRLRLLRLLRLLRLLLRLRLLRLLRLLRRR.

    You don't have to do this ^^^ sticking, just start with a paradiddle and when you feel like it, change the sticking to a double or single stroke roll, back to a paradiddle and maybe some sticking like ^^^^^. If the sticking makes you uncomfortable playing it, that's what it's supposed to do. I change things around on the snare a lot. For decades it kept me sharp.

  6. #31

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    Quote Originally Posted by bassist learning drums View Post
    I may be really asking a stupid question, but I am having one hell of a time with the triplets. I can no doubt-ably play the 16th notes smoothly and the 8note triplets as smooth, but when conjoining them, I get off tempo and the 16th notes wants to play in triplet form. Does anyone have a video or audio track that demonstrates the flow of these patterns? I just think I cannot hear the routine, so trying to play it makes cacophony.

    Go slow like 60 bpm or even slower and say the phrases out loud as you play them. 1 E & Ah, 2 E & AH, 3 Trip let, 4 Trip let. etc etc. Try to think about accenting the 1st beat, when accenting 16th notes the accent is on the same hand on every beat (depending on which hand you start with) and when accenting triplets the accent changes from right to left on every beat.

    Hope that makes sense.
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  7. #32

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    Quote Originally Posted by slinglander View Post
    so how does this book relate to music? Is it any different in the end than playing paradiddles/rudiments back to back at different tempos to warm up? Or maybe it's just the satisfaction of playing every note correctly in the book as laid down by a famous marching, snare drum instructor?
    This is dumb in so many ways, but I call BS on it, as I know damn well that you understand the difference between warming up and developing drumming skills.
    Life's too short to play the same solo twice. Improvise!

  8. #33

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    Quote Originally Posted by JohnnySticks View Post
    This is dumb in so many ways, but I call BS on it, as I know damn well that you understand the difference between warming up and developing drumming skills.
    Let's keep things diplomatic please.
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  9. #34

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    Quote Originally Posted by rickthedrummer View Post
    I looked at that book once, decided it would make me nuts, put it back on the shelf.

    Drumming is mainly single stroke and double strokes. When I get behind my set, I'll play with just the left hand and the BD, then switch hands.

    After that, I'll just take rudiments and mess with them. RLRRLRLL (SIMPLE PARADIDDLE) get's turned into RLRRLRLLRLLRLLRLLLRLRLLRLLRLLRRR.

    You don't have to do this ^^^ sticking, just start with a paradiddle and when you feel like it, change the sticking to a double or single stroke roll, back to a paradiddle and maybe some sticking like ^^^^^. If the sticking makes you uncomfortable playing it, that's what it's supposed to do. I change things around on the snare a lot. For decades it kept me sharp.
    This^ is what I think and what I do...works for me too, Rick.
    I have a friend that worked this book to death in his teen yrs., really enjoyed marching-drumming, got his kit in '63, still can't do anything interesting on the drum kit...
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  10. #35

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    Quote Originally Posted by slinglander View Post
    This^ is what I think and what I do...works for me too, Rick.
    I have a friend that worked this book to death in his teen yrs., really enjoyed marching-drumming, got his kit in '63, still can't do anything interesting on the drum kit...
    Sling, I've seen a lot of drummers that have done the same thing and can't put together 2 minutes of interesting drumming.

  11. #36

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    my teacher in college called this the bible of drumming.
    We would do all of these exercises and then play them while moving around the toms and turning them into fills
    14pc Yamaha Maple Custom Vintage (24pc in total) | 12pc PDP X7 | 9pc Ludwig Jr. | 8pc Pork Pie ZebraWood | 6pc Sonor | 5pc Ddrum Dominion | 5pc Orbitone |4pc Sonor Martini | 55 Snare drums and growing!

  12. #37

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    Contrary to what some here say, these exercises will help. To answer your question? I use it one page at a time.

  13. #38

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    Quote Originally Posted by inthpktplayer View Post
    Contrary to what some here say, these exercises will help. To answer your question? I use it one page at a time.
    Any exercise that involves various stickings will help. It's when it is done to the exclusion of everything else is where the problem starts.

  14. #39

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    Quote Originally Posted by rickthedrummer View Post
    Any exercise that involves various stickings will help. It's when it is done to the exclusion of everything else is where the problem starts.
    This is very true.

  15. #40

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    I have been using it to practice double bass as well as sticking

  16. #41

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    In any endeavor you first need to make a goal. You need to decide your outcome. In other words, "what do you want to do?".

    Whatever kind of drumming you want to do, you need to have a certain ability to achieve it. You need, depending on your goal, a certain amount of "chops". You need to control your fingers and hands in such a way that you can get the result you want from them when you want it every time you play.

    By assiduously practicing with "Stick Control" correctly (i.e. holding the sticks correct, etc.) you can attain the goals you have make for yourself as far as control over the sticks.

    As with anything, you start at whatever speed you can play an individual exercise easily, correctly, smoothly, and relaxed. When you are comfortable with that, you increase the speed little by little until you can play any exercise comfortably and relaxed at the speed you want. Using a metronome is recommended but not all the time.

    Playing every exercise in the book in not necessary. Pick out the ones that enhance your desired goals. Then, apply them to the drums. If you have listened to Tony Williams then you will hear the kinds of combinations that can be achieved between the bass drum and snare alone.

    Ted Reed's "Syncopation" is also another excellent book that should be studied diligently if you want to be good. You can apply the exercises in "Syncopation" along with the exercises in "Stick Control" and become as good as you desire by proper practice. To get to Buddy Rich level would take considerable practice. Ha Ha.

    Other books that for those who wish to advance to higher levels of playing are:
    "Accents and Rebounds" by George Lawrence Stone
    "Master Studies" books I and II by Joe Morello
    "Accents on Accents" books 1 & 2 by Elliot Fine and Marvin Dahlgren
    "Drum Solos and Fill-Ins" by Ted Reed
    "Syncopation 2" by Teed Reed
    Last edited by aboveforever; 12-30-2018 at 12:21 AM.

  17. #42

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    Bumping this up since I found a video that actually describes how to use "Stick Control".


  18. #43

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    Buddy introduced me to Marian McPartland whose group Morello started in. She gave me his number (if memory serves, he was living in Montclair NJ) at the time. I called him and told him about meeting Marian so he said to come down to his studio. He was teaching at Dorn&Kirschners at the time. Had a silver sparkle set of Ludwigs set up. We talked for a while, then went for lunch. I had a burger & fries, I forget what he had but it was washed down with Hineys and vodka shots. Back to his studio where I messed around on the drums for a while. I thanked him for his time and left. I was going to ask him about lessons, but I never saw a man of his stature so completely disinterested in drums that I didn't bother. Maybe I just caught him on a bad day.

    The little we did talk about drums, the Stone book was never mentioned.
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  19. #44

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    Rick, I studied with Joe for 2 years at Dorn and Kirschner at the time he lived in Irvington on occasions I’ve given him a ride home and have a beer with him as well. At the time I was traveling a lot in the band and when he found out I was playing Springfield Massachusetts he asked to to look up a good friend of his. Your right he never made a big deal out of the drums he was a regular guy.

  20. #45

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    Quote Originally Posted by dachay drummmer View Post
    Rick, I studied with Joe for 2 years at Dorn and Kirschner at the time he lived in Irvington on occasions Iíve given him a ride home and have a beer with him as well. At the time I was traveling a lot in the band and when he found out I was playing Springfield Massachusetts he asked to to look up a good friend of his. Your right he never made a big deal out of the drums he was a regular guy.
    Like I said, I might have caught him on a bad day. That had to be in '74 because Buddy still had the smaller club on 64th & 2nd Ave and it was there I met Marian McPartland It was there that I made 1 of the biggest mistakes of my life.

    Anyway, Joe was a great drummer, but he could get sloppy every once in a while.



    This is 1 of my favorite songs by Joe. I got this album when I was about 14-15 years old. I studied that song because I had never heard a drummer play a solo with that slow tap on the snare and working the toms. It's not as easy as it sounds. I worked on that and for 40+ years I would throw that into a solo. Back in the day, I had a lot of fun with other drummers at various clubs because I would bring a buzz roll down to nothing and then start just with that tap on the snare and slowly bring the right hand up on the toms and play between the toms and BD while keeping that tap going on the snare. It's a coordination tester to be sure and I would get other drummers asking me "what the hell was that". If you have a ego (which I have been accused of many times over the years) you just suck it in when you can do something that most R&R drummers can't.


    Almost forgot to ask. Did he still have the silver sparkle Ludwigs when you studied with him?
    YOU MESS WITH THE DEVIL YOU KNOW.

    YOU DON'T MESS WITH THE DEVIL YOU DON'T KNOW.

    VAE VICTIS

    ONCE YOU HIT A CERTAIN AGE, YOU BECOME PERMANENTLY UNIMPRESSED BY A LOT OF CRAP.

    I HIT THAT AGE 20 YEARS AGO.

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