Video Lesson Series with:

Welcome to a series of lessons from world-renowned drumset artist and Vic Firth Educator, Dom Famularo! In each of these video "cyber-spots," Dom discusses a wide variety of topics - from strokes to styles, from studio setup to motivation. His infectious smile and drumming talents make him one of the most sought-after solo artists and clinicians in the world. We hope you enjoy the opportunity to learn from the master!



Introduction to the cyber lesson series
The Free Stroke
Download pages from "The Free Stroke" chapter in Dom's book:   page 1    |  page 2
The Wizdom Woodshed
Heights on the Free Stroke
Different Tools for Different Jobs
Jim Chapin on the Moeller Technique
Jim Chapin: Moeller for the Heavy Hitter
The Traditional Grip
The German Grip
The French Grip
The American Grip
Ghost Notes
Upcoming Lessons
Open Handed Playing
Open Handed Playing, Part 2
Open Handed Playing, Part 3
German Grip on the Drumset
French Grip on the Drumset
American Grip on the Drumset
An Update from Dom / Technique Tools (Vic Pads, Mirror)
Finger Technique: Using Fingers in the French Grip
Range of Motion: The Full Stroke
Range of Motion: The Half Stroke
Isolating your Wrist Motion
History of the Moeller Stroke
Low Moeller Stroke
Half Moeller Stroke
Full Moeller Stroke
Jim Chapin

American Classic® 2B
Tear drop tip. Ideal for heavy rock‚ band and practice.
L = 16 1/4" | Dia. = .630"
  click here to download a larger image of the 2B


About Dom Famularo:
Dom Famularo has been traveling the globe preaching the gospel of drumming for over 30 years. An intense performer, Dom is one of the most respected solo drum artists in the world, with a career built upon his unique skills as a drummer and motivational speaker. He has presented masterclasses and clinics around the globe in China, Hong Kong, Japan, Israel, England, Ireland, Scotland, France, Germany, Portugal, Belgium, Italy, Austria, Holland, Switzerland, Sweden, Norway, Turkey, Malaysia, Singapore, Philippines, Indonesia, New Zealand, Australia, Mexico, Canada and the United States. He has directed and emceed major drumming expos around the world, and has been one of drumming's most sought-after private instructors for over 30 years. Students regularly fly in from around the globe for intensive study with Dom. A major player in the percussion industry, Dom acts as Education Consultant for Vic Firth. Currently Dom continues to travel globally while working on several drum products as well as his new motivational book, The Cycle of Self-Empowerment.

Check out Dom's website to hear sounds, purchase books or see the latest tour pictures!

Dom's book, It's Your Move, co-written with Vic Firth Educator Joe Bergamini, has been voted one of the top educational drum books in the 2000 Modern Drummer Readers' Poll!

An excerpt from the Introduction:It's Your Move is about achieving your maximum potential as a player. This book is the culmination of questions that have been asked of me globally during private teaching for 30 years, many masterclasses, clinics, large drum expos and almost 40 years of professional playing. The exercises contained herein are vignettes to spark fun and creativity. This book is for your hands and feet, on pad and drumset. It will help you better understand the ability of your hands and feet. The title of this book means two things. First, it's up to you: think of your desire to be a better player as a chess game. I offer the seed of an idea; a "first move." Now react - it's your move. It is your choice alone. Second, it's your movement - the way you move your body when you play. The techniques in this book will challenge you to look at every detail of the way you play drums and question it. Drumming is a dance composed of our outward physical motions which project our inner expression and emotion... hence, "Motions and Emotions." Every drummer must find his or her own movement that suits the music they play and their own personal artistic expression.

During my early studies, I accumulated a lot of information and developed these exercises as a path to the capability of full artistic expression on the drums. These are not stylistic exercises, rather, they are applicable to all styles. My teachers Ronnie Benedict, Al Miller, Joe Morello, Colin Bailey and Jim Chapin all shared a great amount of knowledge and what they passed on to me is contained in a new form in this book. I would also like to acknowledge my classes with Joe Porcaro, Shelly Manne, Louie Bellson, Roy Bums, John Guerin, Charlie Perry, Jim Keltner and Ralph Humphrey. All these great artists have shared much with me, and showed me the classic techniques of drumming. I have redesigned and adapted these techniques from classical and rudimental origins and applied them to modem drumset. Early drumset performers used thinner sticks, single-ply heads, played in acoustic bands in acoustically designed rooms with little or no miking. Today, we use heavier sticks, double-ply heads, amplified music in large halls (sometimes with poor acoustics) and the microscopic ear of close mics on all our drums! Thus we need to apply the tried-and-true concepts with a new eye toward the future.

The drumset as an instrument is very young. I feel we are still in a very exciting formative period for this art form of drumset playing. To find out where we are going, I believe we must find out where we came from. As the new millenium begins, we must push our art form forward even further. The things I learned from my teachers are historic techniques. I felt the time had come to document them in a proper way. You will notice there are illustrations in this book. Gene Krupa, on being shown a manuscript for a book Joe Morello was working on, suggested Joe include pictures to clarify the techniques. Joe mentioned this to me long ago. Years later, I met wonderful artist Steve Leahy and remembered this idea of illustrations, so this book, years after Krupa!s comment, now includes illustrations to show the concepts.


The overall goal of good technique is to achieve the widest degree of artistic expression possible. Real estate professionals say the most important thing is "location, location, location." In drumming technique, the most important thing is "freedom, freedom, freedom!" The ultimate goal in the improvement of technique is freedom of creativity.. in the moment. The fewer dynamics and less control someone has, the more restricted they are in expressing themselves. The diagram on page 5 shows the potential of a full range of expressive tools. A higher level of dynamics and control brings more choices from soft to loud and from slow to fast: When we have control over what we are saying, we have more choices in our expression. Then we have the option of saying whatever we feel. Think of the difference between a whisper and a shout. You can also go from speaking very slowly to speaking very fast. The greater the speed, the greater the excitement level and the efficiency of getting your point across. This is why we study technique - to achieve a full range of expression. The full range uses speed, control, power and endurance.

With the fullest range of expression, your choice of what is to be expressed is left only to your imagination. Many people don't use all the full possible range. If a person speaks continuously at the same speed, and the volume of their voice does not change, they become monotone. The same thing happens to drummers, trapping them in the middle of the graph. The graph shows the full range of what is possible in all styles of music. Many contemporary styles, if they are played exclusively, do not require the full range of possibilities. This is not a judgment or critique of the music, just an observation of the stylistic requirements. There are certain players in certain genres that do not need the full range of the graph for them to play that musical style effectively. Thus Jazz, Funk, or Heavy Metal players may have different needs to fill only their specific genre. This works fine for certain players.

For many of today's top players however, one style is not enough. They strive for the versatility to play all styles. Hence the focus on the larger range of expression. The outer box shows the full gamut. Remember that a chain is only as strong as the weakest link. Where do you fit in? By looking at the graph, try to find out where you belong and what you could improve. Perhaps you lack speed, or have not spent time playing softy. This would limit the size of your personal box on the graph. The space outside your box is your unused potential. When you look at the greats, they all have the full gamut. There are no limitations on their expression. That is what this book is about!

It is possible, with lots of practice and listening, to develop a full complement of expressive tools. These elements include playing fast to slow and loud to soft with a variety of techniques. You may not want to play loudly often. That's fine, but it's advantageous to have the ability when it is needed by the music. Strive to perfect all the elements for the full range of expression! Your ability to grow and improve is in your mind. It is up to you. These exercises are my moves to spark your range of expression. This is what I mean when I say, "It's Your Move!"