In Search of Sanford A. Moeller in Connecticut

                                                                                                                                                                 Tommy William Hanson,  BA,  N.A.R.D

Sanford 'Gus' Moeller ... is the main subject of this article

 [with related materials discovered during a 2010 visit to New England]

1938 American Legion National Champion Bob VonDeck. His style,
evident in the photograph, testifi es to his independence
from the regnant Sturtze method. VonDeck’s student Paul Cormier
says that VonDeck “talked about Moeller and Burns Moore all the time.”
Photo in author’s collection
JAMES CLARK

CLICK BELOW FOR

 [ MOODUS MUSTER - (2010) Photos ]

     If veteran’s organizations in the 1920s and continuing on in the 1930s sponsored bands and corps that did not follow a rudimental system of drumming (as a matter of course), then the time to do something about it was certainly ripe.  See again, the Ludwig quotes above in red.

In order to combat this situation, ‘selling’ the idea that the country's American Legion and VFW organizations needed to include competent rudimental drumming ... had to become more aggressive.

The most famous American drummer to harp on this subject at that time was the gifted author/drummer/drum maker ... Sanford Augustus Moeller.  Before Ludwig published Moeller's book, Moeller had traveled around the country doing research.  Those efforts finalized with his compiling the collected material into a self-teaching manual ... "The Art Of Snare Drumming."

     BUT ... it should be noted that there were a number of the New England states that were already 'well steeped' in a rudimental tradition during the 1920s (when Ludwig's comments were made).  New England, at that time (especially Connecticut), was the home of a number of Fife and Drum Corps .  The rudimental drummers in those corps were certainly an active force, which represented world class rudimental drumming in America during the 1920s (and certainly before the turn of century).  The rest of the country was really not aware of this fact ... see later about Dan English - an amazing Connecticut super star drummer.

The point Ludwig was making in 1928 was valid

Back in the 1920s and 30s, it was basically only those in the country who were connected with the military who were fortunate enough to learn ‘the knowledge’ .

With some exceptions, drummers who were either in the military or who had taken instruction from military drummers were the only fortunate ones who were shown drum rudiments as part of their lessons.  For example ...

  J. Burns Moore studied drum rudiments with a drummer in the Sarsfield Guards In 1888

 That guardsman was - Jack Lynehan

~

J. Burns Moore went on to become the country's most famous rudimental drummer for many years

Exceptions to the above statements ... 

Excellent drumming skills came to New England directly from Europe (the U.K., especially) by way of key individuals

Of these key persons ... Samuel Wilcox is perhaps the best known drummer/teacher of that time (from the early 1800s)

Hezekiah Percival (the 'open stick' founder of the Moodus 'Ancients') learned his skills from Wilcox

Other organizations of note were the Mattatuck Drum Band and The Farmingbury Drum Band

 (The Farmingbury Drum Band eventually became the Wolcott Drum Band)

_________________________________________________

To continue ... regarding Ludwig's challenge and Moeller's contributions to drumming

(1) The Moeller Book (1925);  (2) Moeller’s march from New York City to Boston (1930);  (3) The organization of  N.A.R.D. in 1933 ... were some of the important strategies at that time that tried to help improve the over-all situation (regarding rudiments not always being taught to young drummers) ... the exception being the north eastern states (already mentioned above).

MOELLER'S MARCH

     For the cause of  ‘bringing light’ to drumming and to a system of study based on rudimental exercises … Moeller marched 248 miles over 10 days (averaging 25 miles per day) from Madison Square Garden (NY) to the armory in Boston (Sept/Oct. 1930).

W.F. Ludwig quipped:

"Moeller’s march to Boston was the greatest stunt ever put over to 

stimulate drumming and draw attention to the study of drum rudiments."

At the end of this amazing feat, Moeller discussed his journey with the press (and other interested individuals in Boston).  He pointed out that drummers should be aware that learning rudiments and 'working-out' with drum rudiments should be considered the highest form of drumming (as far as he was concerned).

After his historic march, Moeller reported that he used (what he called) ‘the correct holding of the sticks’.  He did this while on his historic journey (beating his drum ‘every step of the way’).  Moeller emphasized the fact that at the end his 10-day march, he did not have a blister or a callous on his fingers!

Moeller was basically saying … this is the correct way to play a drum if one has to do so all day long.  It is the most natural and the most ergonomically correct way to hold the sticks ... and to move the wrists, arms and shoulders in order to beat a drum with strength (and to have endurance while doing so).  This advice is also the definition of what a civil war drummer was taught in order to master the grueling job of rendering (daily) all of the drum beats needed to maneuver the troops ... i.e., 'The Army's Camp Duty' . 

OF COURSE, THIS ADVICE WAS ONLY FOR THOSE DRUMMERS

WHO WERE SLINGING A DRUM SITUATED AT A GOOD ANGLE

  (AS THE 'ANCIENTS' DID)

~

As said above, there was an ignorant kind of mind-set relative to most drummers in the country at that time!  Learning drum rudiments was not that popular in the 1920s (outside of New England).  This was probably because of the rise in popularity of the drum set.  But those who have read Moeller's book carefully ... know that he did recognized more than one kind of drumming.

Moeller was definitely aware that the little finger grip was only appropriate for parade or field drumming situations ... that is, 'open style drumming' (used by the 'ancients').

Moeller was well aware that the grips he used 'on the march' would be inappropriate for playing a drum set or an orchestra roll on a concert snare.  His book points out this concept on page 11.

So ... when he made the statement ... "The correct holding of the sticks" ... what he was saying pertained to parade drumming or field drumming only.  The statement pertained to playing a drum being slung at an angle.  It pertained to those drummers who rendered 'open style drumming' ... playing rudiments using the 'standard and authentic' grips.

HOW VISIBLE IS MOELLER IN CONNECTICUT TODAY  ?

The above photo was taken by James English at the 'crossroads' (September, 1930) in New Haven, CT

Moeller was Drum Sergeant in the 7th Regiment (New York National Guard) at that time

~

__________________________________________________________________________________

TO ADDRESS THE QUESTION AS TO HOW VISIBLE MOELLER IS TODAY IN CONNECTICUT ... THE SHORT ANSWER IS THAT HE IS REMEMBERED MORE FOR HIS DRUM BUILDING AND NOT SO MUCH FOR HIS DRUM LESSONS (OR PLAYING STYLE).  FOR EXAMPLE ...

On August 8, 1954, Moeller personally delivered five new snare drums that were purchased by the Lancraft Fife and Drum Corps for $85.00 each. Those Moeller drums are still being played today.  Additional drums were purchased through the years from; Buck Soistman, Bill Reamer and his son, Andrew Reamer (drums that were patterned after the original Moeller drum forms). 

~

MOELLER'S LETTERS TO DAN ENGLISH

3986 44th Street - Long Island City, NY

(Sanford Moeller's New York address as it looks today (2010)

Printed below are excerpts from letters written to Dan English by 'Gus' Moeller

There were several letters spanning the years from 1928 to 1930.  The excerpts are shown in red (following).  The documents  were given to the Lancraft Fife and Drum Corps library by James English (Daniel's brother).  James was a Lancraft fifer and an extremely important person in the scheme of things.  He was a fifer who won competitions ... just as his brother did.

It was James English who made it possible to be able to document his brother Dan's relationship to the Lancraft Corps and his brother's personal relationship with Moeller.  Recall the photograph that he took of Moeller (at the crossroads) ... shown earlier (above).  

Moeller’s own words (below), clearly show a high regard for Dan and his abilities

Moeller's letters reveal a sincere respect for Dan's talent ... and his deep respect for Dan English as a person

Dan English Was A Perfect Drummer - As Far As Moeller Was Concerned

3986 - 44th St. Long Island City, N.Y.  

Dear Friend Danny;

… of course you must have received first place [at Naugatuck], but I haven’t yet heard how the different prizes were awarded … your drumming is excellent.

May I say that no matter how long one may have to wait during competitions, they would be fully well repaid when they finally hear you.  I am most anxious to have a good long session with you and talk drumming and show you all I have to show.  I am sure I have the best library of drum instructors in existence.  I have them in many different languages and I have many of the most interesting and valuable of the old books published in this country.

Then there is so much to say about drum corps in general and the condition of drumming.  Also, I would like to talk to you about judging drumming contests.  As I have said, I have had long sessions with drummers from most all the big cities in the country.  It’s the way I learned to drum.  How many pleasant afternoons I have spent with Harry Simms, the old drummer of the U.S. Marine band and now retired.  Sometimes Bill Keefer, who is now first drummer with the band, would drop in…

This is a P.S.
As you will see I wrote this letter and it got mislaid and not mailed and I found it today.  Well I wanted to ask you for a picture of yourself anyway.  I want a picture of [someone re-enacting] a Colonial drummer for a trademark.  

It would certainly be nice to have a champion [like yourself] to pose for the model and you have just the physique I want and everything.  I am going to ask you if you would just have a snap shot taken and send it to me.  I don't know just what pose I would want.  I would like a straight front view with the sticks in position as if you were flaming and perhaps a pose just standing still.  Now could you send me a couple like this; just a little brownie camera would work.  I'll make it up to you.  

____________________________________________

3986 - 44th Street Long Island City N.Y.  (September 11th 1930)

Moeller wishes to use drumsticks that he wanted Dan to provide him for his solo march to Boston

Dear Friend Danny;

Now I want to ask you about getting a nice pair of sticks like you use.  I would like to pick a pair to suit me for they probably vary a little but I suppose that any pair you said was good would be alright. 

However, write me some of the dope about the sticks as I want to get a pair or two and maybe more.  I hope you will be able to do this right away and if you are too busy perhaps your brother [James] could do it.

I hope you are enjoying the best of health and that I will see you before a great while.  I am going to try and do a lot of drum corps coaching this winter and I will write you about it soon and will probably have to ask you for information in regard to success in that line. 

I had the honor of being a Judge at the Convention of the American Legion at Saratoga last Friday.  I worked with Philip Egner, 1st Lieutenant, U.S. Military Academy, West Point NY.  I have known him for a long time but had not seen him for about nine years.  I must see you and tell you all the news.

[ Philip Egner was the composer of West Point's official West Point March ]

____________________________________________________________

(November 11th 1930)

Dear Friend Danny:

I am most anxious to take a drive over the route I traveled on foot [last Sept/Oct].  I’m anxious to renew the acquaintance of the wonderful people I met when I made the trip.  Amongst the pleasant memories of the trip was my brief stop in your home … and the wonderful courtesies you showed me.

(Moeller, of course, is referring to the solo march that he made from NYC to Boston a couple of months earlier)

There is a man in east Hampton who showed me a fine old drum and he is also a fine drummer and leader of the East Hampton Drum Corps.  He makes his own heads and they are the finest I have ever seen and he said he would show me how it is done if I come over and spend the time, which I am certainly going to do.  They are purely raw hides and they are not thick and they will stand such a hard blow as you would not think possible.

I feel that it will be the biggest moment in my life when I get up to tell the old Lancraft corps, the Lancraft fraternity and in no other place than that old headquarters ... about the man with the spirit who marched for the love of it from New York to Boston.  I left the World Radio Fair at Madison Square Garden, NY about noon on the 24th of September and arrived at the Armory of the First Corps of Cadets in Boston at 2.30 October 5th.

As I said before I sort of hope it will be a cold wintry evening like the one when you had the 'old timers' get-together.  I walked all over that section with a gallon under my arm and I remember slipping around in the snow.  I do love those winter evenings and it was so cozy inside your old cabin.  

I will never cease to regret that something happened to rob me of that great honor of having the Lancraft Corps escort me through the city.  Our failure to make connections brought something to my ears in Boston that is going to interest you when you hear it and I am going to save it to tell you.

I sent your sticks back [with] Burns as you probably know by this time.  They were most valuable to me and it was extremely lucky that our comrade discovered that mine were cracked.  

The Lord be praised ...to get a man like Burns Moore to teach the way to drum.  Very few realize what fine work Moore is doing for the welfare and I can say for the preservation of drumming.

Now this work is not known throughout the country as it should be.  You folks around Conn and Mass know it of course but west of there they are without the means of knowing what great work is being carried on in New Haven.

Will close with best wishes for all the boys and high hopes for their continued success and happiness in the clean American sport of drumming, which they love so dearly.

Respectfully yours,

SA Moeller

The above letters were provided by ...

 George Meinsen (former president and current historian of the Lancraft Fife and Drum Corps)

[ More excerpts from Moeller's letters will be included in a 'part two version' of this article in the near future ]

If history shows that “Gus” and “Danny” were friends... 

WHY?   -   HOW DID THAT COME ABOUT?

~

The answer no doubt begins with New Haven's J. Burns Moore and Moore’s second teacher, Jack Lynehan

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     Moeller, at some point in time, became aware that New England (Connecticut) had produced a superstar ... Dan English.  Dan's reputation probably came to his attention when Moeller traveled on his 25,000 mile excursion through the country - consulting with the locals in each state that he visited (to always include the retired army drummers from the civil war era who were still living in the various 'old soldier retirement' homes).

Dan English was considered by many in Connecticut (in the 1920s) to be the most talented drummer of all rudimental drummers in the North East … and perhaps in the whole country for that matter.

BUT few knew about Dan’s talents (as one traveled westward)!

~

Because of Dan's exemplary dedication ... and because of the encouragement of  Burns Moore (early on) ... Dan English won the following championships before passing away at the early age of 28 years.

Daniel English (a Lancraft corps member from New Haven) won the U.S. National Championship in 1923 - he won the World Open Championship in 1925

Dan  won the Connecticut state snare drumming title in 1920, continuing in 1925, '27 and '29.

He won the world title at Naugatuck in 1928.  And before he became terminally ill, resulting from heart disease, he won the North East States Title ... and the U.S. National Championship in New York in 1930.

~

     Dan's success (see the above championships that he won) undoubtedly caught Moeller’s attention because of Dan's style.  Dan's drumming approach motivated Moeller to want to cultivate a sincere relationship with him.

The most important reason that Moeller respected and supported Dan was the fact that he was keeping an ‘ancient tradition’ alive and winning contests with that ‘old school’ approach ... it was the drumming style of the 'ancients' that he learned from Burns Moore (similar right hand grip, angled drum, etc.).  Dan's drumming approach was akin to Burns Moore and to Sanford Moeller.  It was a drumming style that followed the military tradition since early America (the American Revolution etc.).  Pictures contained later in this article will show this to be the case.

~

Recall that Burns Moore (Dan's influential teacher) also won contests while rendering the 'ancient' style.  It was a drumming approach that was passed down from the 18th and 19th centuries.  Dan played a drum the way a drum was always played by drummers slinging a deep drum (at an angle) prior to the 1930s.  

BUT as history has shown ... within a few years after Moeller’s book was published (and after the passing of Dan English) ... winning contests with the 'old school' style was no longer possible.

After Moeller's book was printed, things began to change in the world of ‘rudimental drumming'.

MOELLER'S STYLE OF DRUMMING

      Sanford Moeller’s drumming style (what he wrote about in his book) ... was obviously meant to be a vintage drummer's 'how to' manual.  It was a self-teaching instruction book that showed how a deep drum was normally played in the past.  That is, the book concentrated on how a drum was played (mastered) before the twentieth century.  Moeller called the drum lessons in his book ... the 'standard and authentic' rudimental drumming method that was inherited from the past.  It was the method that was handed down through the military since the American Revolution.

In a word ... Moeller's book contains lessons as to how a deep drum was proficiently played, circa 1860

This drumming style was what most American drummers learned - living in the 18th and 19th centuries.  It was the accepted 'school of drumming' at the beginning of the 1900s (but did not continue as the drumming style of choice past the 1930s).  The 'jazz age' and various rudimental drum teachers (influenced by Earl Sturtze) changed all that.

Eric Perrilloux "all the top drummers were Sturtze drummers."  "They had speed and power in their rolls and could go a notch higher and faster than anyone else".  Perrilloux was originally a drummer in the Charles T. Kirk drum and bugle corps (as well as in many other famous corps in later years).

Jack Tencza (Lancraft):  "Sturtze would pinch the stick - he would grip the [right] stick harder than the 'ancients'.

(see Mazur's The Perfectionists)

Lessons In Moeller's Book (and the style of ‘the ancients’) Might Very Well Be Considered One And The Same !

~

      Moeller's book did not contain training tips to help win twentieth century solo contests!  Moeller knew that!  Winning trophies in solo competitions was not the purpose for compiling and writing his book!  Moeller only wished to show the history of drumming ... the method that was handed down from the past (the 'ancient style').

In the 1920s, fewer and fewer drummers cared about the history of drumming or cared about the old and noble rudimental drumming traditions.  It was becoming clear that speed (playing rudiments faster) was the 'new' goal among the next generation.  The rudimental tempos of the past (at or less than 110-112 bpm), began to sound too old fashioned to the 'new ears' of the young.

As said earlier, the reason for this development was probably because of the fact that the next generation of drummers were more interested in jazz (they were growing up at the beginning of the 'jazz age').  There was an increasing interest to follow the popular dance band drummers who flourished in the 1930s and 1940s.  Showing speed (fireworks) was the new goal ... and not the traditional ('ancient') way of playing.

Accented single stroking and paradiddle combinations ruled the drum set world.  A dance band drummer needed just a few rudiments in order to 'wow' the public. 

~

As for rudimental contest drumming ... rendering breakdowns (at a faster tempo) began to appeal to the rudimental solo drummers (and naturally to the judges eventually).  If a drummer (after the 1920s) could take a breakdown to a faster speed than their competitors ... judges, more often than not, began to give them the edge.  The 'old' tempos and playing styles were fading.

A 'new' generation of drummers began to dominate the annual solo competitions.  Those drummers started to place ahead of drummers who were following Moore, Moeller, Dan English, etc.  In other words, former champions (who kept 'the older traditional style', alive) were becoming less relevant.  Corps began to 'modernize'.

MORE ON MOELLER

     Moeller  is an historical figure who is not understood all that well (today).  To many, he was a drummer who held on to an old fashioned style that nobody wanted to follow once the 'jazz age' got a foothold.  But wasn't Moeller doing exactly what corps, such as, the Moodus 'Ancients'  want to accomplish?

To reiterate once again ... Moeller wanted to write a book that would show the standard and authentic way to beat a drum (circa the 1860s).

Moeller's book should be thought of as being historical ... his writings were not meant to be contemporary or innovative. 

At the time when his book was being printed, the traditional drum angle, traditional stick grips and so forth started to be put aside.  A more scientific and stream-lined drumming approach started to evolve ... an approach that was more competitive for solo playing (i.e., playing the breakdowns 'a notch faster').

BUT ... that was not without consequences:  Corps drumlines began to 'look' different!  Compare the photos of Dan English and William ('Big') Reamer (coming up below) ... to see the differences.

~

     Moeller passionately taught his 'Moeller lessons' to anyone who would listen.  He advocated learning the technical skills associated with the old school drumming approach during the initial stages of learning to drum.

The 'correct' style needed to be learned in order to authentically play a vintage 'deep drum' (as was done in the previous century).  This task should be mastered first, according to Moeller, before a drummer specialized elsewhere.  This was his point of view.  It was how a 'complete' drummer should be trained.

Moeller's idea was that a drummer should be competent enough to play the Army's Camp Duty before specializing to play the drum set or specializing to cover percussion parts in a theater orchestra (and so on).  This point of view was definitely the very reason for the way he put his book together!

~

     'Gus' Moeller was not a narrow man by any means!  Recall that he was the influential teacher of two twentieth century drum set giants ... Gene Krupa and Jim Chapin.  

If a drummer in the 1920s and early 1930s wished to concentrate on jazz, theater work, symphonic employment or even dance band drumming ... Moeller's lessons (his book) wasn't a bad place to begin (to create a solid snare drumming foundation).  And that foundation was to (first) learn the rudiments of drumming ... and to then go on to master playing a snare drum using 2-grips. 

It's important to never forget that Moeller's book emphasizes learning a 2-Grips approach:

       (1.) Practice rudiments using the rudimental grip for the right hand ...  [little finger fulcrum]

       (2.) Practice the jazz/concert approach using a different right hand  grip - [the thumb pinch grip]

Grip #2 above was necessary to produce a good sounding 'pressed' roll (buzzing the sticks to create a 'closed roll')

Defining what a drummer is...  

It's interesting to note that the definition of the word drummer began to change after the second decade of the twentieth century.  The word drummer at the beginning of the 1920s started to mean (more and more) ... someone who played a set of drums!  This was not true when the 20th century began.

As the twentieth century moved forward ... the word 'drummer' ceased to be associated with the image of the 'colonial drummer' ... that is, a colonial drummer playing an 'open' style approach using rudiments on a slanted, 'deep' drum.

By the time the 1920s ended ... traditional drumming (as Moeller knew it) was basically gone and forgotten.  The public's point of view regarding the word drummer  was more associated with names like Gene Krupa ... and not so much associated with names like J Burns Moore, Moeller, Dan English and so forth!

 J. BURNS MOORE

     J. Burns Moore developed a solid rudimental foundation by practicing drum rudiments that were shown to him when he studied with a drummer who was a member of the Sarsfield Guards in New Haven CT.  That drummer was Jack Lynehan.  Jack later moved to New York.

Lynehan understood the military (civil war) style of drumming because his knowledge also came from the military.  He was able to pass on that expertise to Burns Moore while Moore was still a young man.  He was more than willing to learn all he could about how those guard drummers could drum so well.  Through Moore, a high degree of rudimental expertise was passed on to Dan English.  He eventually became a Lancraft drummer and a drum sergeant.  English won a number of contests back in he 1920s before his early death in 1931.

~

J Burns Moore (in the early stages of his career) was chiefly known as a championship rudimental snare drummer.  He won top honors in a number of drum contests - and retired from them all undefeated.  Moreover, he was the first president of the N.A.R.D. organization (est.1933). and held that position for more than two decades.  Not every drummer knows this, but Burns Moore should also be respected for his skills as a percussionist.  For over 45 years, Moore was the timpanist for the New Haven Symphony Orchestra.  

In a letter to Dan English in 1930,  Moeller praised Moore for producing excellent drummers in and around New Haven, CT.  However, during the 1020s, this fact was basically unknown to the rest of America.  Therefore, one can't help but conclude that when Moore was winning contests, he did so with a drumming style that was much like Moeller.  They both supported an approach that was similar to the style of the military drummers from the previous century.  Moore was the older of the two but was lesser-known than Moeller to drummers outside of New England.

See photo (below), where Moore shows that he is obviously using the little finger right-hand grip ('ancient' style).   Unfortunately, this has been erroneously dubbed, 'The Moeller Grip' over the years.

Moeller recognized Moore because of the 'standard and authentic' vintage approach that Moore learned from Jack Lynehan.  It was that 'civil war' style that he used to render the rudiments during Dan English's lessons.  He was definitely teaching 'old school' before the Sturtze contest style became the norm.

Student, Dan English, went on to capture a number of contests using the military style that he learned from Burns Moore.

Notice the right hand 'little finger grip'  -   Emphasized in Moeller's book

WHAT HAVE WE LEARNED?

STUDYING THE MOELLER BOOK' IS NOT A RECIPE FOR SPEED OR FOR WINNING CONTESTS

MOELLER'S BOOK WAS A RECIPE FOR LEARNING THE ANCIENT (TRADITIONAL) STYLE  OF DRUMMING

THE 'CAMP DUTY REPERTOIRE' (IN HIS BOOK) WAS MOELLER'S BENCHMARK

~

[ Again - Moeller's concept was that the rudiments - using the ancient right hand grip - should be mastered first as part of Moeller's 2-grips approach ]

The statements below are just conjecture (but they probably ring true regarding the majority of drummers who were looking for direction) 

     The young drummers of the 1930s - the next generation of drummers after Moeller's book was published probably thought about things as follows:

"I can play faster than those old military drumming types."  "I play jazz on a set of drums AND I also play in an 'ancient' fife and drum corps."  "And as far as my playing is concerned, why bother with learning two different grips when one grip (thumb-pinch) can do both.  And who needs all of those rudiments when many of them (the ratamaque, for instance) can't be played that fast."  "They can't be used on fast dance tunes." 

"Rudiments are OK when you're first learning the drum set, but you can't speed some of them up enough to be useful."  "We should just forget about those old drummers and how they played!"  "I'm not going to follow that 'old style' that my teacher wants me to learn first" ... "That guy Moeller, for example, is too old-fashioned."

~

Moeller had to face criticism during the latter part of his life for being a drummer who was 'out of touch'.  He became (in many minds) a drummer who couldn't win solo competitions anymore with his out of date playing style.

What most do not realize about Moeller is that when they saw him play ... they were literally looking at a drummer who was reenacting an early American drumming style (circa - mid 19th Century).  That style dominated up to and including the 1920s.  It's interesting to note that Moeller never gave up demonstrating the style of the 'ancients' and never edited his book to do a revised printing as Moore apparently did.  Moore's  1954 edition is definitely different from his first book (published in 1937).  

So who was Moeller to many Connecticut drummers in 2010?

  "Oh, he built drums, right?"  "Also, his playing style became too old fashioned to be relevant (competitive) "  

Most drummers who answered this author's 2010 questionnaire responded that they were in the habit of using the same right hand grip to play everything (for all occasions).  

MOELLER'S QUESTION:  HOW CAN THE  SAME  GRIP PLAY BOTH AN OPEN DOUBLE STROKE ROLL - AND A CLOSED ROLL (Buzzing The Sticks) ?

His concept (remember) was ... Different muscles are involved when comparing the ancient and modern style

 Therefore (according to Moeller)  a 2-Grips policy should be considered the better way to learn 

~

REVIEW

Moeller, himself, can be seen pictured in his book - sitting at a snare drum using 'that second grip'... a different grip from what was shown on page 4 in his book.  On page 11, Moeller demonstrates an adjusted position for playing a concert snare drum.  That is, the picture shows a drummer's posture for playing a concert snare drum (where a closed-roll grip is called for ... for 'delicate shadings' ).  He is showing the thumb-pinch fulcrum.  

He is suggesting that the above mentioned fulcrum (for the right hand) is best for the orchestra roll and for drum set drumming.  To say again, Moeller agreed that a grip change was necessary for the purpose of rendering a drummer's closed roll (an orchestra roll).  He never suggested that drummers should use the back of the hand (little finger grip) for everything.  Below is a quote from his book regarding the little finger grip...

"This shift of position is most noticeable in the right hand and permits a more delicate shading"  [ page 11]   

THE RUDIMENTAL STYLE (Ancient and Modern)

LANCRAFT DRUMMERS ... GEORGE GALLAGHER* (left)  -  DAN ENGLISH** (center)  -  SHOW THE 'ANCIENT STYLE' (pre 1930s)

WILLIAM 'BIG' REAMER***  (right) -  DEMONSTRATES  A MORE MODERN DRUMMING APPROACH INNOVATED BY EARL S. STURTZE

~

                  *      George Gallagher  ['Drummer Boy']   -  Lancraft State Champion (Connecticut) ... 1911, 1912, 13,14, 15 

                            It should be noted that Gallagher competed against the state's seniors when he won his snare drumming titles

                  **    Dan English  -  Lancraft Drum Sergeant and State Champion (Connecticut) ...1920, '25, '27 and '29

                  ***  Bill Reamer   -   Showing the 'Post-Moeller' approach  ... 'The High Connecticut Style' *  Up and Down Sticking - Use of Heavy Accents - A More Level Drum

* The 'High Connecticut Style' (associated with Earl S. Sturtze) was brought to Pennsylvania by Bill Reamer.  It was Reamer who coached the McCall Bluebirds (1947) to win the American Legion Junior Championship. His drumlines used 'the Post-Moeller'  approach.  That is to say, his drumlines were influenced by the 'newer' Connecticut sound  (Consult Ken Mazur's "The Perfectionists").

__________________________________________

     Analyzing the two photographs on the left (circa pre 1930) will show that Lancraft drummers, Gallagher and English, exhibit a relaxed posture - as per the 'civil war style'  This can be seen especially in their relaxed shoulders.  The 'ancient' posture was to hang down the right arm considerably.  Drums were slung so that the arm was not bent very much at the elbow (contrast this with the third photo).  The civil war drummer would strike the drum thus:  The wrist and forearm rotated out and in rather than being lifted up and down.

                                              GEORGE GALLAGHER                                                                            DAN ENGLISH                                                                           BILL REAMER

It's unfortunate that George Gallagher (photo above - left) died quite young at the age of  21 years

  And it is extremely sad (as well) that Dan English followed later with an early death at the age of 28 years in 1931

Below, is a picture showing this article's author with Jack McGuire - the heart and soul of Lancraft's drumline ... Today (2010)

Jack, as a boy, was a member of the St. Francis School Drum Corps and went on to become a well respected Sturtze student

                                                                                                                 Tommy William Hanson            Jack McGuire   

TO SUM UP ... MOELLER'S BOOK  

     As stated in Moeller's writings, the US Army recognized a particular and specific snare drumming approach that existed when Moeller's book was first published (1925).  His book's lessons were 'compiled' (not invented or innovated).  The 'authentic' information in Moeller's writings evolved from the recognized and accepted drumming manuals from the 18th & 19th century (the playing approach of the 'ancients').

So why criticize Moeller for trying to keep the past alive for future drummers to study and consider?

~

                          THE FOLLOWING ARE SUMMARY STATEMENTS  -  ( SOME COMMENTS ARE REPEATED FROM WHAT HAS ALREADY BEEN WRITTEN ABOVE )

The drum tutors that were officially recognized by the US military dealt with how to play a drum proficiently ... so as to master the army's camp duty.  This is what stimulated Moeller to write his book.  The finishing touches to Moeller's research came from the civil war drummer boys (themselves) when Moeller personally interviewed them (as 'old' soldiers) in their various retirement homes.  No doubt he 'bonded' with those 'old timers' during each visit.  

For the purpose of uniformity, vintage military drummers all learned how to drum from certain approved manuals. But more importantly ... referring to them fulfilled a continuation of the patriotic past.  Moeller was definitely an American patriot and certainly represented a very old drumming tradition ... the accepted military style since the American Revolution (circa, 1776).  And that meant, for example, using the 'back of the hand grip for the right stick'.  

When one studies Moeller, it's clear that he loved the old military drumming tradition that he learned about in detail (first hand) from the civil war drummers.  But above all, we should also be aware that Moeller (himself) was an active-duty soldier (Spanish-American War) as well as a reservist.  These facts should easily set Moeller apart from many of the other well-known rudimental drummers of the early 20th Century.

This article does not cover Col. Hart's contributions, as his approach to drumming was different.  He did not follow the Bruce/Strube approach as did the Moore (early on), English and Moeller.  This not to say that different is bad.  Basically, he only differed as to how he taught the right hand grip.

NATIONAL ASSOCIATION OF RUDIMENTAL DRUMMERS

     After many discussions ... George B. Bruce and Gardiner A. Strube were adopted to be the rudimental authorities by the founding members of N.A.R.D. back in 1933.  

A telling credit to Moeller's contribution to the art of drumming (and why he should be appreciated as one of the giants of the past) is the fact that in 1925, when Moeller's book was published, he cited George B. Bruce and Gardiner A. Strube as the drumming authorities that should govern rudimental drumming in America.  Recall that his book preceded N.A.R.D. by eight years ... and that organization came to the same conclusion.  To say again ... that conclusion was cited in Moeller's book eight years earlier.  Moeller also called for J. Burns Moore to be the model to follow for the rudimental drumming in Connecticut.

~

The MOELLER BOOK SHOULD BE THOUGHT OF AS HISTORY

He was basically saying:

'ATTEND TO HOW IT WAS DONE IN THE PAST'

But to remind the reader yet again ... corps following Hart or the Wilcox school of drumming should also be thought of as corps following an 'ancient' style (even though not recognized by the US military).  Consult the Moodus Drum and Fife Corps for more information.

FINAL OBSERVATIONS:

      It is true that Moeller's style would be out of place regarding the DCI drum corps circuit, today.  But so would the drumming style of  Burns Moore, Dan English and Earl S. Sturtze for that matter.

However, we should recognize that each era in American history has played its part in the country's development and should be studied, documented and remembered.  This article is advocating that ...

Moeller Was Advancing An Historical Connection ........ (the 20th century with the past)

It's just too easy to say:

'Oh, that out dated stuff ... no one plays a drum anymore the way Moeller did'

~

BUT ... to subscribe to the above philosophy would also mean that we should eliminate all graphics of the American flag when it only had 13 stars and 13 stripes ... because 'Old Glory' went on to expand from there (and today's America doesn't use that flag anymore).

'That early American flag is in the past, now ... so we should just forget about it!'

The above view would actually advocate deleting parts of history as time goes along  ... and it's a bad point of view.  Why, for example, don't we see two flags carried by F&D corps when they march in parades as 'ancient' corps?  The second flag could be proudly carried in memory of the original colonies (13 stars and 13 stripes)!  The Lancraft F&D Corps, for example, many times feature the Betsy Ross and Grand Union flags when performing.  Also, one member of their color guard may at times appear in a first nation's American Indian costume (when possible).

MOELLER'S BOOK IS HISTORY 

Should we just move on and forget about how 'ancient drummers' actually played ?

Should we just say that ... Moeller's playing style and his book are simply too old to be useful?

Shouldn't we continue to emphasize that the 'ancient' drumming techniques can still live today!

~

This article has attempted to put Sanford Moeller in a better light than what's been the case for many decades

Moeller's  mission was to keep the 'ancient style' alive ... especially within the Fife and Drum Community

But his mission will fail unless some of us try harder to be more authentic  (regarding the past) ... 

END NOTES

  *Many thanks to George Meinsen (former president and current historian for the Lancraft Fife and Drum Corps)

  *A considerable amount of reference material in this article came from information located in the Lancraft archives

  *Many references are from Ken Mazur's 'The Perfectionists'  -  (An invaluable document to the history of drumming)

  *Thanks also to 'Jim Clark' and his generosity - CVFM ... (Connecticut's Fife and Drum Tradition - PhD James Clark, Author) 

  *And thanks as well to those drummers who agreed to filling out a short questionnaire:

 | Cliff Barrows - Connecticut Blues  | Danny O'Mara & Jack McGuire - Lancraft Fife and Drum Corps |

| Marty Bryan and Jim Enos - Kentish Guards |

Unfortunately, other corps contacted were not able to accommodate this author's research visit - Fall (2010)

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