Accents And Rebounds (George Lawrence Stone).pdf. Uploaded by Rafal. Copyright: © All Rights Reserved. Download as PDF or read online from Scribd. Renowned drummers Danny Gottlieb and Steve Forster have now completed an in-depth study guide to accompany George Lawrence Stone's Accents and. Accents and Rebounds has 7 ratings and 0 reviews. George Lawrence Stone's Accents and Rebounds, the follow-up to the classic Stick Control, builds on the.
|Author:||Ms. Frida Cassin|
|Published:||24 April 2017|
|PDF File Size:||42.25 Mb|
|ePub File Size:||43.15 Mb|
|Uploader:||Ms. Frida Cassin|
The upstroke is the opposite accents and rebounds a downstroke. This motion starts from a low position and ends up high.
Again, the use of the upstroke is the same as the downstroke, but in reverse. If we need to play a larger, more powerful, stroke following a low stroke, putting that upward pop on it puts us in better position to execute the next stroke.
And last but not least the low stroke. The low stroke, or tap, is essentially just accents and rebounds full stroke, but played at a much lower height.
Accents and Rebounds: For the Snare Drummer
If we were to play each note of the paradiddle at the same volume, we would use full strokes, whether they be high or low. But if we add an accent to accents and rebounds first note of each paradiddle, everything changes. The second note would then be an upstroke. And those two doubles will simply be accents and rebounds strokes.
So our paradiddles strokes would look like this: The first two would be full strokes to prepare for the next two accents, the second two would be downstrokes to prepare for the first two low accents and rebounds, and the last two would be up strokes in preparation for the first two accents on the repeat.
If we apply this concept to Accents and Rebounds, the book becomes far more useful.
Renowned drummers Danny Gottlieb and Steve Forster have now completed an accents and rebounds study guide to accompany George Lawrence Stone's Accents and Rebounds for the Snare Drummer and have kindly allowed us to post it here.
All of us who were lucky enough to have studied with Joe were exposed to an incredible, specific approach to hand technique, that if practiced correctly, yielded amazing results.
You would play as fast as you could, and then Joe would go much faster, and at some point you would realize he was playing with JUST his left hand. Stone, and Billy Gladstone, that if you were interested in pursuing, he would be more than willing to share.
Observe his hand positions, his touch, his incredible range of dynamics, and his unparalleled technical ability. All of these seemingly impossible accents and rebounds had their basis in Mr.
I was lucky enough to study with Joe on and off for forty years and, along with many of his other devoted accents and rebounds, am committed to preserving his legacy and passing on what I can of his teaching methods.
Stone and Joe Morello decline to document in print some accents and rebounds the specific techniques that would seemingly provide help in executing the exercises?
There is no explanation in Stick Control, and nothing in Accents and Rebounds.
ACCENTS & REBOUNDS
It was their hope that both Stick Control and Accents and Rebounds could be used by any student with any technique, so therefore, no explanation was needed. After careful consideration, we have decided to present a few of the technical concepts in the reissue of Accents and Rebounds, and to talk more about those concepts in this expanded version for the Stone website.
We hope that this will help in the usage and execution of this incredible material, and this is presented as a accents and rebounds to these two great masters. The available videos are: Hand Position Explanation Accents and rebounds first concept usually discussed involved how to hold the stick and specifically why a particular method was used.
He would explain that if you held your hands down at your sides, then raised them up, holding your wrists above the drum, and then moved the wrists up and down in a waving motion, there would be no tension in the movement.
His feeling was that you should then hold the stick with a grip that would duplicate this natural movement without any tension. The tension seemed to be caused by squeezing the stick between the thumb and the first finger, and therefore with this accents and rebounds, there would be no squeezing of the stick.
With the right hand matched grip you would grab the stick, accents and rebounds it at the first crease on the first finger.