Great drummers sound powerful and relaxed at the same time. That is not luck. It is technique. This guide breaks down the most useful drum set techniques, the pioneers, why the ideas spread, what the technique is, how to play it, how to practice it, which styles use it, and what to listen to.
Ghost notes
Rimshot
Buzz roll
Flams
Linear drumming
Heel toe
If you want one idea that connects everything in this article, it is control of motion and control of volume. Most technique problems are not speed problems. They are motion problems.
How to use this guide
Choose one technique per week
Technique improves fastest when you focus. Pick one main technique for a week and keep the others on maintenance.
You will progress faster than trying to fix everything at once.
Practice sound before speed
If it does not sound correct at slow tempo it will not sound correct at fast tempo. Build a clean sound first then raise tempo.
Use three levels of volume
Many drum techniques exist to control accents and soft notes.
Practice every exercise with loud medium and soft strokes.
Record your playing. When you hear your own dynamics you will fix technique faster than by guessing.
Moeller method
History pioneers and adoption
The Moeller method is named for Sanford Moeller. He documented the approach in a manual that is widely cited as first published in 1925 and later became known as The Art of Snare Drumming. The method grew through teaching and performance traditions and was later popularized for drum set by educator and drummer Jim Chapin, who studied with Moeller and taught the system for decades.
Why it spread is simple. It solves a real problem. Drummers need loud accents and long periods of playing without tension. The Moeller approach uses efficient motion and rebound so the stick does more work with less strain.
It became influential in marching settings and then in jazz, where relaxed power matters.
What the technique is
The Moeller method is a stroke system built around a relaxed whipping motion plus rebound. The core idea is that one flowing motion can produce an accent followed by one or more softer notes. You stay loose and let gravity / rebound help, instead of forcing every note with muscle.
How to play it step by step
- Start with a loose grip and a relaxed forearm. Keep shoulders down and breathe.
- Lift the stick using a small forearm motion. Think of the stick as a paintbrush, not a hammer.
- Allow a natural whip down to create the accent. The wrist stays flexible.
- After the accent, let the stick rebound and use a small wrist or finger motion for the following soft notes.
- Keep the motion continuous. The goal is one smooth wave, not separate tense hits.
How to practice the Moeller method
Exercise 1 accent tap
Play groups of two on a pad or snare.
First note loud, second note soft.
Count steady eighth notes.
Aim for the same soft volume every time.
ACCENT - TAP | ACCENT - TAP
Exercise 2 accent tap tap
Play groups of three.
First note loud next two notes soft.
Keep the accents consistent and the taps whisper quiet.
ACCENT - TAP TAP | ACCENT - TAP TAP
Exercise 3 triplet flow
Put the three note grouping into triplets.
This connects directly to shuffle feels and many jazz phrases.
ONE TRIP LET | TWO TRIP LET
Musical styles that lean on Moeller
- Big band and swing where you need strong ride accents and long endurance
- Marching and rudimental playing where projection and relaxation both matter
- Rock and pop backbeats where a full snare sound must stay consistent for entire songs
Listening examples
- Buddy Rich - Channel One Suite - Buddy Rich Big Band
- Gene Krupa - Sing Sing Sing - Benny Goodman
- Steely Dan - Home at Last - Bernard Purdie
Ghost notes
History pioneers and adoption
Ghost notes are very soft strokes that add motion and texture without stealing focus from the main accents.
The idea appears across jazz, funk and rhythm and blues traditions. In funk drumming ghost notes became a defining element because the groove often depends on subtle inner motion between backbeats.
Many drummers helped shape the modern ghost note sound. In classic funk, the snare vocabulary of players such as Clyde Stubblefield helped define how quiet notes can make a groove feel alive. In modern funk and soul, drummers such as David Garibaldi and Questlove are also widely associated with detailed snare dynamics.
What the technique is
A ghost note is a note played so softly that it is felt more than heard. It sits under the main groove and creates a sense of forward motion. Ghost notes usually live on the snare but can also appear on toms or even the kick in some contexts.
How to play ghost notes
- Set two target volumes. A strong backbeat and a whisper soft inner note.
- Play the soft note with a small wrist motion and let the stick stay close to the head.
- Keep the stick height low for ghost notes and higher for accents.
- Do not tense your grip to play quietly. Use relaxed control.
- On a drum set, keep the hi hat and kick steady so the ghost notes feel intentional.
How to practice ghost notes
Exercise 1 backbeat plus whispers
Play a basic rock groove.
Add soft sixteenth notes on the snare between the backbeats.
Keep the backbeat strong and the added notes very soft.
Exercise 2 shuffle ghost note placement
Use a half time shuffle feel.
Place a soft note on the middle triplet partial while the main backbeat stays big.
This trains control inside swung subdivisions.
Exercise 3 call and response
Play one bar with no ghost notes and one bar with ghost notes.
Switch every bar and keep time identical.
The goal is groove consistency.
Musical styles that lean on ghost notes
- Funk where soft inner strokes create pocket and dance feel
- Neo soul where micro dynamics and laid back time are central
- Shuffle and half time shuffle grooves where ghost notes glue the pattern together
Listening examples
- James Brown - Funky Drummer Clyde Stubblefield
- Toto Rosanna - Jeff Porcaro
- Paul Simon 50 - Ways to Leave Your Lover - Steve Gadd
- Tower of Power - What is Hip - David Garibaldi
Rimshot and rim click
History pioneers and adoption
The rimshot is an accented snare stroke that combines rim and head at the same time - creating a brighter more cutting attack. It became common because amplified music and loud bands required backbeats that could cut through guitars and horns. The rim click, or rim knock, is a related option often used for softer sections and acoustic settings.
What the technique is
A rimshot strikes the rim and the head simultaneously.
A rim click places the stick across the head and strikes the rim with the butt end for a woody sound.
How to play rimshot
- Set the stick so the bead will hit the head slightly in from the rim.
- Angle the stick so the shaft contacts the rim at the same time as the bead contacts the head.
- Use a consistent stick height so the sound matches from hit to hit.
- Keep the stroke relaxed. Tension makes rimshots inconsistent.
How to play rim click
- Lay the stick across the drum head with the tip resting near the far edge.
- Hold the tip down gently and lift the butt end.
- Strike the rim with the butt end for the click sound.
- Control volume by changing the height of the butt end.
How to practice
- Practice rimshot backbeats at slow tempo, aiming for identical tone each hit
- Alternate one bar of normal backbeats and one bar of rimshots to learn control
- Practice rim clicks with a metronome and focus on even timing at low volume
Musical styles that lean on rim technique
- Rock pop and gospel where the backbeat must project
- Reggae ska and bossa nova where rim click style sounds are part of the language
- Acoustic singer songwriter settings where rim click keeps time without overpowering
Listening examples
- Steely Dan - Babylon Sisters - Bernard Purdie
- Bob Marley and the Wailers - Stir It Up - Carlton Barrett
- Norah Jones - Dont Know Why - Brian Blade
Buzz roll (press roll)
History pioneers and adoption
The buzz roll, also called the press roll, is a classic rudimental sound associated with orchestral and marching traditions. It developed as drummers looked for sustained roll textures on a single drum. On drum set it appears in builds and crescendos and in softer snare textures where a sustained sound fits the music.
What the technique is
A buzz roll uses multiple rebounds from each hand stroke. Instead of two clear bounces like a double stroke roll, each stroke is pressed slightly so the stick bounces many times. The goal is an even smooth sustained sound.
How to play it
- Start with a relaxed grip and a low stick height.
- Play a stroke and allow multiple bounces by keeping light contact with the stick.
- Match the buzz length in both hands.
- Alternate hands evenly so the roll sounds continuous.
- Adjust pressure slightly to control buzz length, but avoid squeezing.
How to practice
Exercise 1 single buzz control
Play one buzz per hand with a metronome.
Try to make each buzz last the same length.
Exercise 2 two beat roll
Alternate buzz strokes to create a two beat sustained roll.
Focus on smoothness, not volume.
Exercise 3 crescendos
Start very soft then gradually get louder over four beats.
Then fade back down over four beats.
This is the roll you use in real music.
Where it shows up
- Marching and concert snare parts
- Orchestral snare and concert percussion textures
- Drum set builds into choruses and big transitions
Listening examples
- Listen for concert snare roll passages in orchestral repertoire such as Bolero by Maurice Ravel
- Listen for roll builds in live rock recordings where the snare roll swells into the chorus
Flams and drags
History pioneers and adoption
Flams are among the classic rudiments that grew from military and fife and drum traditions. A flam creates a thicker attack by placing a soft grace note just before a primary note. Rudimental ideas moved into drum set playing as drummers borrowed vocabulary for fills and backbeat embellishments. Drags are another rudimental texture that adds a quick double grace note before a main note.
What the technique is
A flam is two strokes very close together.
The first is a quiet grace note.
The second is the main note.
The timing between them is tiny and controlled, not random.
How to play a flam
- Set one hand low for the grace note.
- Set the other hand higher for the main note.
- Strike both so the low note happens just before the high note.
- Keep the grace note soft. The main note carries the sound.
How to play a drag
- Play two quick soft notes with one hand.
- Follow immediately with a main note from the other hand.
- Keep the two soft notes even and quiet.
How to practice
- Practice slow flams aiming for identical spacing each time
- Alternate which hand plays the grace note
- Apply flams to backbeats sparingly to create a big emotional lift
- Use drags as ornaments in shuffles and in linear grooves
Listening examples
- Led Zeppelin - When the Levee Breaks - John Bonham
- Queen - We Will Rock You - Roger Taylor
- Many marching snare solos feature clear flam control
Linear drumming
History pioneers and adoption
Linear drumming is a drum set approach where only one instrument is struck at a time. It became popular in funk and fusion contexts because it creates clear separation between notes. Educators such as Gary Chaffee helped formalize the concept, and players such as David Garibaldi and Steve Gadd are widely associated with iconic linear grooves.
What the technique is
In a layered groove you might hit hi hat and snare together for backbeats.
In a linear groove you avoid simultaneous hits.
The kick snare and cymbal parts interlock like gears instead of stacking.
How to play it
- Start with a simple pattern using only kick and snare in alternating sixteenth notes.
- Add hi hat notes only in the empty spaces.
- Keep the volume of each voice consistent so the groove is clean.
- Use sticking that feels natural, often alternating hands, and plan where the feet land.
How to practice
Exercise 1 two voice grid
Write a one bar grid of sixteen slots.
Place kick on a few slots and snare on a few slots.
Play only those two voices with no cymbal.
Make it groove.
Exercise 2 add hi hat in the gaps
Add hi hat notes only where neither kick nor snare plays.
Keep the hi hat light.
If two sounds happen together, slow down and fix the pattern.
Exercise 3 apply ghost notes carefully
Ghost notes can still exist in linear playing, but keep the rule of one voice at a time.
Use snare ghost notes on slots where the hi hat rests.
Musical styles that lean on linear drumming
- Funk and modern R and B where interlocking parts create motion
- Fusion and contemporary jazz where independence and clean articulation matter
- Pop grooves that want a busy feel without clutter
Listening examples
- Toto Rosanna - Jeff Porcaro
- Paul Simon 50 - Ways to Leave Your Lover - Steve Gadd
- Tower of Power - What is Hip - David Garibaldi
- Steely Dan - Home at Last - Bernard Purdie
Heel toe bass drum doubles
History pioneers and adoption
Heel toe is a foot technique that allows two strokes in one rocking motion. Sources commonly describe early usage in big band era playing, and modern educators helped popularize it for faster double stroke foot patterns. It spread because it offers speed with less effort compared to forcing every note with a full leg stroke.
What the technique is
One rocking motion produces two hits.
A common approach is first contact with the ball of the foot then a second stroke as the heel drops or the foot rocks.
The exact mechanics vary by pedal setup and by player anatomy.
The goal is even doubles and control at many dynamic levels.
How to play it
- Sit so your foot rests naturally on the pedal with a relaxed ankle.
- Play the first stroke using a small downward motion from the ankle.
- Let the foot rock so a second stroke happens with minimal extra effort.
- Focus on equal spacing between the two strokes.
- Keep the leg relaxed. The ankle does most of the work.
How to practice
Exercise 1 slow doubles
Play doubles at slow tempo and aim for equal volume on both notes.
Most players have a weak second note at first.
Fix that before speeding up.
Exercise 2 doubles inside grooves
Place heel toe doubles on beat one then play a simple groove around it.
This makes the technique musical instead of isolated.
Exercise 3 endurance ladder
Play doubles for thirty seconds then rest thirty seconds.
Repeat five rounds.
Stay relaxed and stop if tension builds.
Musical styles that lean on fast foot technique
- Metal and progressive styles where fast kick patterns are common
- Gospel chops vocabulary where fast foot bursts support fills
- Any style where short double kick phrases add excitement without constant double bass
Listening examples
- Listen to modern metal recordings with double kick patterns for evenness and clarity
- Listen to big band timekeeping for efficient foot motion on hi hat time
Styles and why technique choices change
Technique is not just athletic. It is cultural. Different styles reward different sounds and different time feels. Here are a few examples of why the same drummer might change technique based on the music.
Jazz and swing
Jazz often needs long endurance and wide dynamic range.
The ride pattern must stay relaxed while accents appear naturally.
Moeller concepts and refined rebound control help keep time open and flowing.
Funk
Funk usually needs precise subdivisions and strong pocket.
Ghost notes add motion while the backbeat stays firm.
Linear ideas help keep the groove busy but clean.
Rock
Rock often needs a consistent backbeat that cuts through loud instruments.
Rimshots and strong full strokes help the snare speak.
Efficiency matters because the parts repeat for many minutes.
Reggae and Bossa
These styles often want a woody click and a lighter footprint.
Rim clicks and controlled hi hat articulation fit the sound of the ensemble.
The drummer supports the groove without overpowering.
Marching and rudimental settings
Rudimental music rewards clean grace notes and even rolls.
Flams drags and buzz rolls are core vocabulary.
The sound must be consistent across an entire line of drummers.
Metal and high speed footwork
Modern high speed kick patterns demand efficiency.
Heel toe and other double stroke foot approaches help maintain speed without burning out.
Evenness of tone becomes the musical goal.
A simple practice plan that ties it together
Use this plan four days per week, for four weeks.
Keep sessions short and focused.
Always stop if tension appears.
Day structure about thirty minutes
- Warm up - five minutes. Single strokes and doubles at comfortable tempo.
- Technique focus - ten minutes. One technique from this article.
- Groove application - ten minutes. Put the technique into a real groove.
- Listening and imitation - five minutes. Play along with one recording example
Week one Moeller method
Goal relaxed accents and soft taps.
Apply to backbeats and to triplet ride phrasing.
Week two ghost notes
Goal three levels of volume.
Apply to funk grooves and to half time shuffle feels.
Week three linear drumming
Goal clean separation of voices.
Build one bar patterns and make them groove.
Week four rolls and ornaments
Goal smooth buzz rolls and clean flams.
Use rolls for transitions and flams for accents in fills.
References and further reading
- Percussive Arts Society The Moeller Book at 100
- Moeller method overview
- Percussive Arts Society Jim Chapin
- Percussive Arts Society Ghost Note Funk groove lesson
- Linear drumming overview
- Rimshot overview
- Heel toe technique overview
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