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I think it makes more sense to simply use a remote hi-hat on the right side if you don't want to cross your arms (Gary Chester was a big proponent of this--read "New Breed"). Realistically, though, is crossing your arms really that big a deal? I don't find it uncomfortable at all.
<font size="2" face="Verdana, Helvetica, sans-serif">Ditto.Quote:
I think it makes more sense to simply use a remote hi-hat on the right side if you don't want to cross your arms (Gary Chester was a big proponent of this--read "New Breed"). Realistically, though, is crossing your arms really that big a deal? I don't find it uncomfortable at all.
Rather than the time-consuming, re-learning of re-assigning the limbs, I'd rather put a remote closed hat on my R, & a crash-ride & FT on my L... [img]wink.gif[/img] OH yeah...Weck's da man... [img]tongue.gif[/img]
<font color="#a62a2a" size="1">[ August 25, 2004 05:01 PM: Message edited by: FuseU1 ]</font>
I'll tell you why I think putting
the HH on the right does little more
except make it easier for you to do
what you have already thought about
doing and that's not what playing
open-handed is about at all.
Playing open-handed is a new exper-
ience, showing you a new vista ent-
irely. You will think diffently be-
cause of it and this due to the
fact that our brains are wired to
out limbs in a certain way. Change
that up and you will not only see
a physical but a mental change and
that's what it's about.
Dom is going for that too.
[img]cool.gif[/img]
Well, I always hear from the open-hands supporters that the purpose is to play more "naturally" (by not crossing your arms) and have room to explore the toms. If you start presenting the argument (and I use that term in the friendliest of ways) that its purpose is to free your mind, then we're really not talking about open-handed playing at all -- we're back to the old independence/interdependence drawing board.
I work on my independence, and by doing so, I'm able to play open-handed if I feel like it (which I usually don't unless I'm playing linear patterns). It seems almost as if you're trying to insinuate there is some sort of spiritual revelation people have when they "get it". Maybe I just missed out on it, and maybe I'm missing your point, but I don't see how playing with your left hand on the left side is any more fantastic than playing with your right hand on the right side.
Manos:
"...but I don't see how playing with your left hand on the left side is any more fantastic than playing with your right hand on the right side...."
It wouldn't be if I were left-handed. My point is that because I am right-handed and because I am working out everything that I learned on my right hand, OVER THE LAYER of what I learned already on my left hand and vice-versa, I am exploring new ground and it's for real.
It's hard for me to tell you so that you'd understand and I don't think you or anyone else, who has not and even WILL NOT do it (which is what I get from you're saying) will understand it.
Again, to talk about a change, to conclude about where some road might lead you, without traveling that road is just a waste of your creative process. I'm just sharing with you something that I have found. Don't discard or devalue it because you haven't gone or won't go there.
I say this for all the people who might journey down this road someday.
[img]cool.gif[/img]
ROAD LESS TRAVELED
Two roads diverged in a yellow wood
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth
Then took the other as just as fair
And having perhaps the better claim
Because it was grassy and wanted wear
Though as for that, the passing there
Had worn them really about the same
And both that morning equally lay
In leaves no step had trodden black
Oh, I kept the first for another day!
Yet, knowing how way leads onto way
I doubted if I should ever come back
I shall be telling this with a sigh
Somewhere ages and ages hence
Two roads diverged in a wood
And I took the one less traveled by
And that has made all the difference
Robert Frost
Another quote:
"Do not follow where the path may lead... Go instead where there is no
path and leave a trail." -Robert Frost
It doesnt seem to be hurtin' Vinnie, Weckl, or many others, playing crossover. [img]tongue.gif[/img]
But, I DEF hear where you are going w that PC.
[img]cool.gif[/img]
And, a guy like Virgil, it doesnt matter...even tho he plays crossover as a rule, he can switch it [lead] up from limb to limb, top to bottom, R to L when he wants...& he will only get more monstrous as time progresses...
I hears ya...Noted. [img]wink.gif[/img]
In my opinion the most important thing is the sound. I don't care if a drummer is using some wierd grip!! What's the difference? Play the way you're most comfortable and the way you sound the most consistant. Has anyone seen Ari Hoenig play? He has the worst looking matched technique ever. But he sounds amazing. Looks like he's having a siezure though.
Both Keith Carlock and Steve Hass play trad grip and have a full range of motion while the right hand is on the hi-hat. If you set your hi-hat up pretty even with your bass pedal and sit in front of the snare so both legs are comfortable and even, your hi-hat will be close to your first rack. Move your right hand foward, and this gives your left hand that great looking full range moeller technique that both of these guys use.