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Lección 4 de 114BateríaBeginner

Técnica de baquetas

Sophie Alloway

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Sophie Alloway
7:53
Domina los fundamentos de cómo sujetar las baquetas. Sophie demuestra el agarre correcto, el movimiento de muñeca y la colocación de los dedos para ayudarte a desarrollar control, velocidad y precisión.
Parte del cursoMétodo de batería Rockschool para principiantes114 lecciones (3h 47m)

Esta lección forma parte del curso completo. 1 lección es gratis.

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Sophie AllowayTu gurúSophie Alloway

Qué incluye el curso

114 lecciones (3h 47m) · 1 gratis

    • 01. Bienvenido al curso

      2:31

    • 02. Guía rápida de la batería

      Lección gratis

      8:36

    • 03. Sentado en la batería

      5:28

    • 04. Técnica de baquetas

      Estás aquí

      7:53

    • 05. Técnica de pedales

      6:15

    • 06. Usar un metrónomo

      5:26

    • 07. Leer notación de batería

      5:26

Transcripción de la lección

Stick Technique in Drumming

So let's talk a little bit about stick technique. Now, again, there are many different ways to play, but there are some basics and fundamentals that I like to teach and I personally use myself. Often, I have to remind myself to do these things because when you're playing gigs, concerts, and recordings, sometimes we slip into bad habits. It's just worth checking these things every now and then.

Basic Technique

As a basic technique, if you're using matched grip—which is where both sticks are held in the same way (which most people do for rock and pop)—you want the thumb and the first finger to be roughly the same height.

  • They don't have to be exact, but they should be approximately the same height.
  • Leave a little gap between the first finger and the next three fingers, which generally are all together.

I use the back three fingers quite a lot for some power and double strokes, which you'll get into later on your drumming journey. But this is my starting point. It's the same with my left hand: roughly the same height for the thumb and first finger, a little gap, and then the back three.

You want to have probably about an inch at the back. It's not an exact science; as you're playing, the sticks might move a little bit, especially if you have a nice relaxed grip. So, using matched grip for rock and pop, we like the right and the left to look roughly the same.

Traditional Grip

A lot of students ask me about traditional grip. They don't know it's called that, but it is. Honestly, most students look at me and say, "But lots of drummers play like this." I tell them, "Well, they don't tend to if they're right-handed and they're in a marching band."

Characteristics of Traditional Grip:

  • Military drummers and a lot of jazz drummers play this way.
  • If they're right-handed, generally their right hand will use matched grip technique, and their left hand will play in the traditional style.

For a right-handed player, traditional grip would look a little like this. It’s a very different angle to actually get the notes. Most of my favorite players use that technique, but I think it's best that we stick to matched grip for now.

Note: If you're left-handed and you want to play traditional grip, your left hand will use the matched grip technique, and your right hand would use the traditional one. But first things first: we're going to play everything this way.

Importance of Relaxation

Make sure you have a nice relaxed grip. Easier said than done, especially when you're learning. A lot of people think they're so determined to get things right that they tense up. The sooner you can stay relaxed, the better it helps you move around the kit. Tension can cause strain in the shoulder, neck, etc.

  • For example, if you're playing for hours a day, you don’t want to be too tense.
  • I often get told that I look relaxed when I play, and that’s important. It makes my job a lot easier.

Now, let's strike the drum with single strokes. Just to help you with your technique, we will do one right-hand hit on the snare drum and one left-hand hit.

Grip and Sound

This is a sort of German grip where the back of the hand is at a 45-degree angle. You don’t want to be like this, which is a French timpani grip. But generally, for rock and pop, we want to use the German method.

  • Think of it as sort of an upside-down V on the snare drum and going around the toms.
  • I'll play one note with the right and one with the left—very relaxed, not straining—so you can achieve a good full sound.

Demonstration of Grip Tension:

If I may demonstrate briefly, this is going to hurt me and I won’t do it for long. I'll play a fill around the drums while being really tense.

"Even my voice has tensed up, and it won't sound as good."

Now, I’ll play relaxed. It creates a sort of effortless feel, which is much more enjoyable to play.

Achieving Balance with the Drumstick

Achieving the balance we want from the drumstick has a lot to do with the fulcrum. This is generally the thumb and the first finger along with the support from the back three fingers.

Location also matters; for example, holding the stick too far up creates weight at the back, making it difficult to control the stick.

  • If you hold the stick too far at the back, all the weight will be at the front, hindering rebound or bounce.

In my comfortable playing position, it’s not a controlled bounce, but it demonstrates the most natural bounce point.

Your fulcrum will probably be about an inch at the back of the stick. It's not an exact science—don't get your tape measures out! This is just a good guide for achieving balance.

Advanced Techniques

If you want to dive into double strokes, once you get comfortable with speed, the fulcrum, bounce, and balance point of the stick really come into play.

  • Focus on using your back three fingers to pull the stick in—a kind of release and catch method.
  • This is a bit more advanced, so don’t worry about it for now.

Stay relaxed, and happy drumming!

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Sophie Alloway

Sophie Alloway

Sophie Alloway es una batería de sesión y de gira en el corazón de la escena del jazz londinense. Ha actuado con Jason Rebello, Yazz Ahmed, Laurence Cottle y Tony Allen, y destaca por haber tocado para el príncipe Carlos en el Palacio de Buckingham poco antes de que se convirtiera en rey.

Entre sus créditos de gira figuran Roots Manuva, el musical Thriller y Paul Stacey (Oasis / The Black Crowes). También es la batería de la banda original de fusión Lydian Collective, con más de seis millones de reproducciones en Spotify.

Sophie ha grabado sesiones en los estudios Abbey Road, AIR y Angel, y entre sus apariciones televisivas se cuentan Later… with Jools Holland, Glastonbury y dos temporadas del drama Ridley, de Adrian Dunbar. Aparece en Abbey Road Masters: The Drum Sessions y tocó para los finalistas del BBC Young Jazz Musician 2024, emitido en BBC TV y radio. Jon Newey, de Jazz FM, la apodó la "diosa del groove".

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