MORE ON THE BAILEY TECHNIQUE

AS ALWAYS HEADPHONES OR EAR BUDS RECOMMENDED FOR LISTENING. THE MOST SUCCESSFUL MUSICIANS ARE THOSE WHO HAVE THE MENTALITY OF BEING A PERPETUAL STUDENT. IN THIS VIDEO I EXPLAIN AND DEMONSTRATE TWO KEY TECHNIQUES TAUGHT TO ME BY THE LATE ELDEN "BUSTER" BAILEY SNARE DRUMMER WITH THE NEW YORK PHILHARMONIC. IHERE'S THE STICKING: RLRLRLRLLLRLRLRLRR THEN START WITH THE LEFT HAND SAME PATTERN. THE NEXT VARIATION IS : RLRLLRLRRLRLLRLRR. THEN START WITH THE LEFT. BUSTER HAS A PHRASE MARKING OVER EACH GROUP OF EIGHT SIXTEENTHS MEANING THAT IT SHOULD SOUND LIKE DA DA DA NOT DUT DUT DUT. STRIVE FOR A MORE LEGATO SOUND WHICH IS A MORE MUSICAL SOUND FROM AN OTHERWISE VERY STACCATO INSTRUMENT. IF YOU WANT TO HEAR BUSTER'S MARVELOUS SNARE DRUM PLAYING LISTEN TO NEILSEN SYMPHONY # 5 CONDUCTED BY LEONARD BERNSTEIN.

[@DaveGoodman]

Such a beautifully life-changing approach to snare drumming technique, and very nicely described and demonstrated here, Don. Thanks so much, as always, for shedding some much-needed clear light on Mr. Bailey’s musical approach! 🥁💗

[@357pick]

Thanks Dave.

[@elvingioven]

Real good informations, great deal, thanks , i like it

[@357pick]

Thanks for your comments.

[@dlc630]

Thanks, Don. I'm going to re-visit this lesson because it's so fundamental in developing good technique.

[@357pick]

Thanks Duane.

[@MattMusicianX]

This is super info. Thank you for sharing!!! Curiosity in Bailey's method is why I subscribed two years ago and then got Wrist Twisters. I'm glad I did.

[@357pick]

Thanks. I'm so glad that you subscribed and that you're getting something out of the videos Matt.

[@chsemaphor]

Matt Musician X Matt, what's your progress after two years with wrist twisters?

[@m.a.nathaniel7660]

Thanks! I need to get hold of that book. Always looking for the next step!

[@357pick]

When you get the book take it slow and master the first page of exercises because they're the basis for being able to play every other exercise in the book. It's all about developing a sensitivity in the wrist to the rebound of the sticks and the elimination of any tension in the wrist, forearm and shoulders.

[@johannesschmitz6370]

What is the point? Is it to make efficent drumming energy expenditure? Will it sound "better" like this than if I used single strokes? Does it help in approaching certain drumming parts with more ease when there is no indication of what hand pattern to use? I'm kinda confused about the use of the bailey technique in terms of application. Of course, a creative mind can use demonstrated exercises for anything. But is this really an outstanding aspect of Bailey or just a feature of the exercise?

[@bigd-1-channel514]

Not too Proud to admit this is beyond me. I guess over the years of just playing tunes, and really not working on stick control/sticking, etc, has led to me not being able to do things like this. It is kind of also why I never figured the piano, unable to control the fingers or read notes very well. This however shows me you sir are a master musician.

[@357pick]

Thank you Dennis!

[@tennis9281]

Great lesson Don! Just a question. Do you use the free stroke ( morello, famularo method)?I' ve noticed that you seem to prepare your single strokes, especially taps, starting very low on the pad and going up first and then down, instead starting directly from an height and going just down from there. This reminds me of the spivack technique, who had as a reference half inch from the surface. I mean, should every stroke end at the height of the one that follows? I' m talking about just simple wrist strokes and not rebounds. Thanks in advance

[@357pick]

My approach is to produce a more legato sound from the drum. This is accomplished through the hands being totally relaxed. Velocity comes from using the natural rebound that we get from the drum to a high degree. One must develop a sensitivity in the wrists to each rebound. I teach that one should always keep the stick tip levels low especially for grace notes. This also helps one to be able to change dynamics effortlessly. Yes, the sticks should end up at around the same height each time. You're right about the taps going up first and then down.

[@tennis9281]

@@357pick Nice. I' ve always been more into the Morello teaching, with every stroke connected to the height of the one that follows. Obviously the all rebound technique is something else. I really enjoyed your content. Thanks a lot

[@chsemaphor]

Ordered this book after I came across your videos. Finally, received it today after, about one month. Read everting in the beginning, but didn understand what those curve lines mean. He says 'shapes', but what kind of shapes? And those short lines above the notes, like accent mark, but single and straight, what does it mean? Confused a little...

[@357pick]

First and foremost the exercises in the book all hinge on that first page of eighth notes. It is impossible to lay those accents where they belong if you are not relaxed in your hands. Those phrase marks over each measure indicate that you should be shaping the phrase with a legato feel so that each note sounds like Da,Da,not Dut,Dut. This is accomplish by allowing the sticks freedom to move in the hands so that each stroke is bounced with one motion. Those marks that look like accents mean to let the stick land louder by stating at a higher point. The short lines mean not as loud as the other marks. I tell my students to go slowly through the book perfecting one or two exercises at a time. I hope this helps.

[@chsemaphor]

Thank you very much, Don. Not sure how I can play legato 8th notes at 50 or 80 bpm, but I get the idea of flow. But still cant understand what are those "-" above the notes? Is it something like "half accent"? I dont have any problem with playing those three first exercises at slow tempos. Want to say that a great idea is in the core of the book, I understood it after those three exercises. Its about feeling the stick. Also wanted to ask, if you dont mind,. This book and stick control are different and use different approaches. So, the question is - will I get different results as well? I mean, does this book cover everything I need to be able to play snare/drum set? Thanks for your help and great videos, Don!

[@357pick]

@@chsemaphor Yes, those indicate softer accents. Listen carefully to the sound of each note. In the video, I demonstrate throw-drop. The throw enables one to get the second note for free. The stroke is one wrist/arm motion (so that the stick returns right back to the starting point). As long a you're playing any exercise that way it will be beneficial. The goal is to utilize the natural rebound of the drum or pad so that one can play with minimal effort

[@chsemaphor]

Don Hennig thank you so much, Don. I noticed you adressed each comment on your channel. Appreciate it so mucn!

[@jedsawyer4085]

Hi Don. I have a question. On page 22, exercise 2 of “Wrist Twister” I have trouble getting the mezzo forte note- 2nd 8th note to sound at the proper volume, when I start playing at quarter note=90 BPM and a little faster than that. My crescendo sounds akin to climbing steps and it does not feel or sound smooth, and when I loosen up to sound smooth I can’t get the 2nd 8th to mezzo forte volume (I’m just dropping the stick and it sounds the same as the piano note). How do you throw the stick when you crescendo on exercise 2 on page 22?

[@357pick]

Jed, make sure that the "thrown " accented note originates from the shoulder. You should see your elbow moving out to the side each time. Don't be to concerned with trying to get a true mezzo forte note because the second eighth is really an upstroke tap to prepare for thrown downstroke which creates the accent. If I were you, I'd cut the tempo back so that you're not forcing anything. I hope that this helps.

[@jedsawyer4085]

Alright. I’ll have to police my shoulders and elbows using a mirror to make sure I’m doing it correct. I’ll definitely dial back the metronome to 50 or slower if need be. Other than that now that you’ve explained the 2nd 8th note, I now have a clear understanding. Thank you very much for your help!

[@357pick]

You're welcome! A mirror is a great for catching things that need correcting.@@jedsawyer4085

[@jedsawyer4085]

Hi Don, I have made an observation regarding the Bailey technique. Now correct me if I’m wrong; a way to look at the single strokes in the technique is almost like a multi bounce roll but just with wrist and rebound. Which leads me to the question from what I noticed that there are no open double stroke exercises in the book. Because of the nature of the technique, are you single strokes and open double strokes interchangeable?

[@357pick]

@@jedsawyer4085 I'm not sure what you mean about single strokes and double strokes being interchangeable. A tension free, relaxed technique enables one to switch back and forth with very little effort.