This is a great way to make more sense of playing diddles with perfect rhythmic accuracy, and thus, clean with other people. Couldn't be better explained! Great video
I marched snare at Spirit in 1980 under Tom Float and we used "correct interp" as described in this video. Although Atlanta is definitely not "west coast", we played that way due to Tom's influence. There were times when we slurred a six in a jazz chart because it fit the genre better, but everything else was definitely "correct interp". Delucia and Hurley used the more traditional "slurred interp" with Bridgemen and Phantom with much success also. I guess it's whatever style you get used to playing. Being able to play both is a good tool to have in your arsenal.
Yes! My HS line played West Coast style (under Scott Wessels now at VicFirth) and my college played East Coast style. Didn't realize the difference at the time, other than my college line snare tech / section leader (East Coast guy) didn't think I could play correctly. Thought I was too stiff with the diddles. Glad to learn the difference! I don't think he knew the difference at the time... only played the way he learned, etc. I taught a HS drumline in Atlanta in the early nineties with a former 1980 Spirit Snare drummer, Scott Brown...does that ring a bell? (he isn't the college line instructor I was referring to) Great player!
I loved those Hurley Lines. Especially 1987, 1989, and 1990. They had some nice slurred writing. Plus i really loved all of the down the line stick flips and twirls that hurley used to do. They looked really cool. R.I.P Marty!
This is so true about West Coast vs East. I was taught the correct (West) coast in drum lessons I took in the early sixties, before joining drum corps. I had to change the correct style into East Coast style when I joined an East Coast drum corps. I still to this day play them correctly when practicing alone but, I have to open them up when playing with old friends from my drum corps days.
Actually, you guys used the west coast style. Your diddle interpretation was always exact, very well subdivided. I played against you guys every year at A&T. We used the east coast style, which accounted for our very open double stroke rolls. Only recently have we moved to the west coast style diddles like you guys, because we just couldn't play the things we do with the east coast style and still be clean. NSU, however, was one of the first lines to use east coast style in HBCUs!
I still don’t know the exact difference between East and West Coast. I’ve been taught to make my diddles metrically perfect (if played cleanly, 16th-note based diddles and 32nd notes should sound exactly the same), but I don’t know what style that is. All I know is that my diddles are smooth and that’s all that matters.
Yep. I never knew anyone *could* interpret them differently. I’ve always understood that to be the point of all the exercises that alternate between straight sixteenths and diddles; the base of sixteenths is constant, regardless of the diddles being played or not.
Ah, and I watched them every year at the Battle of the Bands. Had to stand against them. Definitely tight diddle control. East Coast sounds TERRIBLE on Kevlar heads, but they were always immaculate in cleanliness. A&T used to use East Coast interpretation back when I marched. Definitely made a difference when our snares moved to a west coast interpretation. Doesn't matter that they're ON the east coast, they PLAY west coast style!
why does east coast play super heavy, and their diddles are spread out, but west coast plays super relaxed, and their diddles are TIGHT? I understand the technique is different, I just find it fascinating regardless.
Just another thing to appear to be above and beyond others. There's so little difference in the two it doesn't really matter. Just listen to him try and play the two styles of "diddle interpretation" you'll be challenged to hear the difference. And to get that tighter diddle sound he speeds up the tempo. Lol.
Uh, yeah, considering that, with the exception of many of the SWAC schools, which by the way, NSU is NOT one of, no one plays East style. Eastern corps, such as the Cadets, Crown, and others, from which schools like NSU use as models for their playing, don't use it. Besides, this was back when HE played, which goes all the way back to the 70s. What century is it again?
Quote: "back in the 70s, early 80s" Tell me how NSU, one of the top models of combining traditional and current corps style playing, uses a technique model FROM 40 YEARS AGO. Obviously, you didn't seem to understand what. Allow me to explain: JSU uses eastern style drumming, very open interpretation of drag passages. NSU uses western style drumming, tightly controlled drag passages. The titles are just labels, not literal definitions of localities.
This is a great way to make more sense of playing diddles with perfect rhythmic accuracy, and thus, clean with other people. Couldn't be better explained! Great video
I marched snare at Spirit in 1980 under Tom Float and we used "correct interp" as described in this video. Although Atlanta is definitely not "west coast", we played that way due to Tom's influence. There were times when we slurred a six in a jazz chart because it fit the genre better, but everything else was definitely "correct interp". Delucia and Hurley used the more traditional "slurred interp" with Bridgemen and Phantom with much success also. I guess it's whatever style you get used to playing.
Being able to play both is a good tool to have in your arsenal.
Dennis Johnson i
Yes! My HS line played West Coast style (under Scott Wessels now at VicFirth) and my college played East Coast style. Didn't realize the difference at the time, other than my college line snare tech / section leader (East Coast guy) didn't think I could play correctly. Thought I was too stiff with the diddles. Glad to learn the difference! I don't think he knew the difference at the time... only played the way he learned, etc. I taught a HS drumline in Atlanta in the early nineties with a former 1980 Spirit Snare drummer, Scott Brown...does that ring a bell? (he isn't the college line instructor I was referring to) Great player!
I loved those Hurley Lines. Especially 1987, 1989, and 1990. They had some nice slurred writing. Plus i really loved all of the down the line stick flips and twirls that hurley used to do. They looked really cool. R.I.P Marty!
Amen
Thank you soooo much for this simple yet very important trick.
+Mario Bruneau Glad to know that it helped!
This is so true about West Coast vs East. I was taught the correct (West) coast in drum lessons I took in the early sixties, before joining drum corps. I had to change the correct style into East Coast style when I joined an East Coast drum corps. I still to this day play them correctly when practicing alone but, I have to open them up when playing with old friends from my drum corps days.
Actually, you guys used the west coast style. Your diddle interpretation was always exact, very well subdivided. I played against you guys every year at A&T. We used the east coast style, which accounted for our very open double stroke rolls. Only recently have we moved to the west coast style diddles like you guys, because we just couldn't play the things we do with the east coast style and still be clean. NSU, however, was one of the first lines to use east coast style in HBCUs!
I just learnd more than i do at school! :D
I was talking about the last sentence of your post.
great explanation
it's extreamly x9999999 clean !!!!
I still don’t know the exact difference between East and West Coast. I’ve been taught to make my diddles metrically perfect (if played cleanly, 16th-note based diddles and 32nd notes should sound exactly the same), but I don’t know what style that is. All I know is that my diddles are smooth and that’s all that matters.
Yep. I never knew anyone *could* interpret them differently. I’ve always understood that to be the point of all the exercises that alternate between straight sixteenths and diddles; the base of sixteenths is constant, regardless of the diddles being played or not.
East coast plays more open then West.
it all makes sence now
Ah, and I watched them every year at the Battle of the Bands. Had to stand against them. Definitely tight diddle control. East Coast sounds TERRIBLE on Kevlar heads, but they were always immaculate in cleanliness. A&T used to use East Coast interpretation back when I marched. Definitely made a difference when our snares moved to a west coast interpretation. Doesn't matter that they're ON the east coast, they PLAY west coast style!
miss respetos
@UKrocketeer True, it's been a month since i've had it. lol
He used to endorse Vic
He's using the MS5's from Vic when he's now with pro mark?
why does east coast play super heavy, and their diddles are spread out, but west coast plays super relaxed, and their diddles are TIGHT? I understand the technique is different, I just find it fascinating regardless.
What is that head combination and tuning?
Evans hybrid grey top hybrid mx5 snare side c# in the video or d5
Is it me or do the Evans Hybrid heads make you not look down at your drum?
They hurt my eyes!
so how about Dennis Delucia????? Bridgman "80" "81"????????
Dude he marched there i dont think you can tell him.
Just another thing to appear to be above and beyond others. There's so little difference in the two it doesn't really matter. Just listen to him try and play the two styles of "diddle interpretation" you'll be challenged to hear the difference. And to get that tighter diddle sound he speeds up the tempo. Lol.
my mouth is stuck open.
Uh, yeah, considering that, with the exception of many of the SWAC schools, which by the way, NSU is NOT one of, no one plays East style. Eastern corps, such as the Cadets, Crown, and others, from which schools like NSU use as models for their playing, don't use it. Besides, this was back when HE played, which goes all the way back to the 70s. What century is it again?
Diddle Interpretation 💁♂️
@aintmybabyfour you get used to it
Lol. Mmmk. 😆
haha :)
It's a freak'n diddle...just pick one a go with it.
Quote: "back in the 70s, early 80s"
Tell me how NSU, one of the top models of combining traditional and current corps style playing, uses a technique model FROM 40 YEARS AGO. Obviously, you didn't seem to understand what. Allow me to explain:
JSU uses eastern style drumming, very open interpretation of drag passages. NSU uses western style drumming, tightly controlled drag passages.
The titles are just labels, not literal definitions of localities.