Sanford Moeller thoroughly studied the 'Camp Duty' literature (US Army), because he loved how these drum beatings could show off the advanced expertise of a drummer. Moeller believed that if anyone could expertly play the Camp Duty, they should be considered accomplished at the instrument. Examples of those drum beatings, are: ('Three Camps', 'The Quick Scotch', 'Dinner Call', the classic 'Downfall of Paris' - to name a few ). From history, we know that in the 1920s, Moeller was very vocal and critical of what he saw. Rudimental shortcuts and unbalanced stickings were turning out weaker (less accomplished) drummers, in his view. Also, making use of the authentic traditional grips were being ignored. He was not part of the original 'twenty-six rudiments club', but he definitely supported learning rudiments. His book preceded N.A.R.D. 's foundation by several years! To Moeller, studying rudiments was the very basis needed to build a proficient drummer. The historic group (just mentioned above) was made up of a number of well established drummers who possessed excellent technical skills. With the help of William F. Ludwig (W.F.L.) (Leedy and Ludwig) (etc.), the group encouraged younger players to improve themselves by following a practice method that included mastering a list of twenty-six rudiments (learning the 'thirteen essential drum rudiments' was the first step).

Ever since the days of John Philip Sousa, nearly all young American drummers have been instructed by their band director (conductor) to study the "scales of drumming", i.e., drum rudiments". Today, with the advent of PAS (Percussive Arts Society) and DCI (Drum Corps International), all parts of the US are populated with drummers who have excellent technical skills. Also, now-a-days, there exists many more variations and combinations of drum rudiments ... different permutations of those age-old, basic, elemental strokes and studies.

Sanford "Gus" Moeller was first and foremost a rudimental drummer and was definitely a 20th century bridge to the 'ancients'. Be that as it may, it is common knowledge that Moeller was chiefly responsible for helping to produce the great early jazz drummers, such as the famous "Sing, Sing, Sing" soloist, Gene Krupa. This is proof that much of the so-called 'Moeller method' can be easily translated to non-rudimental venues (to include the various styles and grips used by well-known players of the drum set).The Moeller Book·· "The Art of Snare Drumming," was published in 1925 and reprinted in June 1950 by Leedy and Ludwig ... (followed by - 1956 Copyright assigned to Ludwig Drum Co.), (followed by - 1982 Copyright assigned to Ludwig Music Publishing Co). There was a time when this self-teaching method was ONE of the 'necessary THREE' (authors), that serious players would examine. Half a century ago, techniques from Sanford A. Moeller (The Moeller Book), George Lawrence Stone (Stick Control ) and Jim Chapin ... Jim's independence book for Jazz and Be-Bop Drumming ... were the accepted building blocks that helped to create the trained, advanced jazz drummers & rudimental drummers of the day.

Do all well-known drummers talk about rudiments? Are rudiments that important? I remember Elvin Jones (when he played with John Coltrane) telling a clinic, that age old piece of information ... If a drummer practices the double stroke (Da-Da Ma-Ma Roll) with an accent on the second note, it produces an improved sound and changes the very way a drum is played. In other words, learning to cultivate the 'weak' taps, changes one's style (somewhat) regarding the different ways a drum can be stuck. The exercise also helps to produce the very best tone and enhances technique, such as speed! Also, the exercise forces the second note of the double to be played as an 'accented up stroke'. This is a very useful technique to develop!

During the 1920s and 30s, individuals, such as Sanford Moeller, were the ones who had the 'knowledge'. There were other drummers out there, certainly, but most did not really know the concept 'practice your rudiments'! They obviously performed that way, too. Little wonder that Gene Krupa stood out ... because Krupa could really play a snare drum! (thanks to 'Gus'). This was the point in time (in the U.S.A.) when the United States military drummers, along with the 'trained percussion specialists in the European classical tradition, ceased to 'own' (exclusively) the advance technical skills (drum rudiments) needed for accomplished drumming! As we all know, Krupa was not a 'military drummer' or a classical percussion specialist! His niche was in the popular world. He specialized in dance band drumming and after several years developed his own band to feature himself. Louis (Louie) Bellson and Benard (Buddy) Rich did the same thing many years later. It should be remembered, though, that Krupa's popularity resulted from his applying ancient skills (the rudiments and other techniques from Moeller's lessons) to the drum set. He is usually thought of as being the first successful drummer to do so.

UP STROKE