I simply don't get right hand lead...I've been playing for 34 years and teach music professionally. I've always found it irritating to listen to first and foremost. Every book out there stresses practicing exercises on both sides. In college I learned early rudimental music was played this way. I always assumed it was done so to keep soldier in step since an over practiced right hand basically ends up sounding accented. My problem with it is that it results in a weaker and weaker left hand. Could you please explain to me why I should want to teach right hand lead? If it's only for making things easier I completely reject it. However, I also know people teach it. What am I missing about this technique?
The use it in an orchestral context, I think you can benefit from both depending on the passage, dynamic range and difficulty. I'´ve been playing for 25 years and for me it´s easier alternating, now I got the itch to learn orchestral snare drum and I feel like an idiot trying to learn the right hand lead.
@@je36 I finally came back to notice this reply. I appreciate any discussion as this has always been a thorn in my side. I still find no use for right hand lead. I've never had trouble using strict alternation. There are plenty of situations when it's necessary to play two rights or two lefts in a row to avoid an awkward crossing of hands, but that's not right hand lead. The only reason to use it is to make things easier. To me that compromises the quality of the music. To me, it's a cop out that results in an annoyingly tedious sound.
It’s efficient because it anchors the right hand where it would normally be if you were performing straight 16ths, allowing for a more fluid motion when 16th are broken up. There are instances when it’s more efficient to perform it with another sticking - a rudiment like a para-diddle for example - and this is typically written and defined in the arrangement.
I'm no expert, but based on my experience right-hand lead is useful - perhaps essential - in a marching band context where you want the snare line to all look and sound the same. If it is assumed that everyone knows right-hand lead, you do not have to put in the sticking for every single note, and the drummer does not have to read and memorize all the stickings because most of it is ingrained. There are always exceptions where particular stickings are spelled out, but the bulk of the piece does not require this. In situations where you are the only drummer - or where playing in sync is not the goal - I'm not sure there is a use for right-hand lead. But since most drummers start learning to play in school, it makes some sense to habituate them to right-hand lead if they hope to play in the school's marching band. No matter what context, left-hand lead practice as well as even dynamics and sound between the hands are always desirable. As an aside, I would argue that making things easier is not a bad thing - not at the expense of good sound or technique, but to increase flow and musicality WITH good sound and technique. It was a revelation to me to learn the LLR "jazz triplet" after trying to make that sound (two snare ghosts followed by a tom accent) with alternating sticking. With so much to practice and perfect in the world of drumming, I am always open to any shortcuts that get the job done just as well or better.
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Is there anywhere where I can find the worksheet? I have checkd on the website and cannot find anything.
I simply don't get right hand lead...I've been playing for 34 years and teach music professionally. I've always found it irritating to listen to first and foremost. Every book out there stresses practicing exercises on both sides. In college I learned early rudimental music was played this way. I always assumed it was done so to keep soldier in step since an over practiced right hand basically ends up sounding accented. My problem with it is that it results in a weaker and weaker left hand. Could you please explain to me why I should want to teach right hand lead? If it's only for making things easier I completely reject it. However, I also know people teach it. What am I missing about this technique?
The use it in an orchestral context, I think you can benefit from both depending on the passage, dynamic range and difficulty. I'´ve been playing for 25 years and for me it´s easier alternating, now I got the itch to learn orchestral snare drum and I feel like an idiot trying to learn the right hand lead.
@@je36 I finally came back to notice this reply. I appreciate any discussion as this has always been a thorn in my side. I still find no use for right hand lead. I've never had trouble using strict alternation. There are plenty of situations when it's necessary to play two rights or two lefts in a row to avoid an awkward crossing of hands, but that's not right hand lead. The only reason to use it is to make things easier. To me that compromises the quality of the music. To me, it's a cop out that results in an annoyingly tedious sound.
It’s efficient because it anchors the right hand where it would normally be if you were performing straight 16ths, allowing for a more fluid motion when 16th are broken up. There are instances when it’s more efficient to perform it with another sticking - a rudiment like a para-diddle for example - and this is typically written and defined in the arrangement.
I'm no expert, but based on my experience right-hand lead is useful - perhaps essential - in a marching band context where you want the snare line to all look and sound the same. If it is assumed that everyone knows right-hand lead, you do not have to put in the sticking for every single note, and the drummer does not have to read and memorize all the stickings because most of it is ingrained. There are always exceptions where particular stickings are spelled out, but the bulk of the piece does not require this.
In situations where you are the only drummer - or where playing in sync is not the goal - I'm not sure there is a use for right-hand lead. But since most drummers start learning to play in school, it makes some sense to habituate them to right-hand lead if they hope to play in the school's marching band. No matter what context, left-hand lead practice as well as even dynamics and sound between the hands are always desirable.
As an aside, I would argue that making things easier is not a bad thing - not at the expense of good sound or technique, but to increase flow and musicality WITH good sound and technique. It was a revelation to me to learn the LLR "jazz triplet" after trying to make that sound (two snare ghosts followed by a tom accent) with alternating sticking. With so much to practice and perfect in the world of drumming, I am always open to any shortcuts that get the job done just as well or better.
This is what my drumline instructor told me. It's basically for show. @@drumsforlife